From Darkness into Light
Antoine BRUMEL (1460-1513)
The complete Lamentations of Jeremiah for Good Friday [42:26]
“P.M.” manuscript, Florence, 1559 (Florence, Biblioteca Nazionale Centrale,
MS II.I.285)
and music from Biffoli-Sostegni manuscript, Florence, 1560 (Brussels,
Bibliothčque du Conservatoire Royal, MS 27766)
Musica Secreta/Deborah Roberts & Laurie Stras
rec. 2019, St Michael the Archangel, Southampton, UK
Texts and translations included.
OBSIDIAN CD719
[73:42]
The reading or chanting of sections of the Lamentations of Jeremiah at
Matins on Maundy Thursday, Good Friday and Holy Saturday formed an
important part of the Latin rite for Holy Week; it was even given a boost
by a papal decree in 1955, which restored Matins from being sung by
anticipation the previous evening to its place in the morning. Alas, that
was just before the arrival of the shopping-basket language which took over
Roman Catholic worship and replaced the beautiful English of Cranmer in
Anglican usage.
Different selections from the Lamentations were prescribed at different
times and in different places; Brumel’s selection corresponds with
fifteenth-century Venetian usage, 28-15 and 31-11 and
to the readings prescribed by that 1955 decree, as printed in a Holy Week
Manual for which I see that I paid 3/6 (£0.18) in 1961. The original Hebrew
text is an acrostic poem, each verse beginning with a different letter of
the alphabet, Aleph, Beth … Traditionally, as here, the Hebrew letters are
incorporated into the setting, elaborated like the initial letters of an
illuminated manuscript. The Good Friday selection begins with the letter
Heth.
Brumel’s setting has been known in fragmentary form for some time, but it’s here presented in a
new and considerably extended form, as edited by Laurie Stras. The Tallis
Scholars sing just two verses of the Lamentations and the refrain
‘Jerusalem, Jerusalem return to the Lord your God’ on their recording of
Brumel’s music, a valuable recording for the composer’s best-known work,
the ‘Earthquake’ Mass, based on the motet Ecce terrę motus, another
work appropriate to Holy Week and especially to Good Friday (CDGIM026).
With the appearance of the new Obsidian, the alternative Tallis Scholars
2-CDs-for-1 set which includes the Earthquake Mass but not the Lamentations
now becomes an even more attractive proposition (CDGIM211 – The Tallis Scholars sing Flemish Masters: Isaac, Ockeghem, de Rore
and Brumel).
No prestidigitation or reconstruction was necessary to present the
Lamentations in their full glory: the verses were literally hiding in plain
sight and had been mistakenly regarded as accidental recapitulation in the
manuscript.
The Tallis Scholars sing the music with a mixed-voice ensemble. Musica
Secreta, an all-female ensemble, transpose some of the music as it would
have been sung in convents – as, indeed, much of Vivaldi’s music would have
been sung by the girls of the Pietą two centuries later. Organ and
viol very discreetly fill in the illusion of the lower parts. It’s very
well done, but I would like to hear this new complete text sung with men’s
voices on the lower parts.
Musica Secreta have recorded for a variety of labels; some time ago I
reviewed their Divine Art album Sacred Hearts, Secret Music, with
music by Palestrina and de Rore (DDA25077). I found some problems with the
presentation of the booklet, but very much enjoyed the performances, as
also on their appearance on other albums on Linn, Amon Ra and Divine Art
which I mentioned in that
review. My one reservation was that the singing was a trifle bland in places. The
singing here is, perhaps, a trifle cool for some tastes, delicate and
vibrato-free rather than impassioned, but I didn’t find that a major
hindrance to my appreciation. In any case, the new recording is
indispensable for those wanting to hear the complete version of the music
and unlikely to be challenged for some time, if ever.
The rest of the programme may not be relevant to Passiontide, but it adds
to the desirability of the recording. Some of the works are not otherwise
currently represented on record.
Some time ago I took Hyperion to task for some misconceptions in
translating the Lamentations, wrongly assuming that words in
medieval Latin always meant what they had in classical times. In the
Obsidian booklet, it’s not so much misconception as some rather awkward
English; the most logical thing would be to follow the translation of the
Douai Bible, based on the Latin Vulgate. That used in the booklet seems to
be an amalgam of the Douai, King James and Jerusalem bibles, but the main thing
is that it gives the correct meaning of the Latin.
This first recording of Brumel’s complete Lamentations, newly restored,
supersedes earlier versions.
Brian Wilson
Contents
Antoine BRUMEL
Lamentationes Hieremię Prophetę, in feria sexta Parasceve
Heth. Cogitavit Dominus
[6:20]
Joth. Sederunt in terra
[8:16]
Lamed. Matribus suis dixerunt
[7:04]
Nun. Prophetę tui viderunt
[12:34]
Gimel. Circumędificavit adversum me
[8:12]
Anon
Ave maris stella
[5:00]
JOSQUIN des Prez (1450-1521)
Recordare virgo Mater
[4:59]
Antonio MORO (1517-1577)
Sancta Maria succurre miseris
[2:36]
Anon
Jesus autem cum ieiunasset
[1:58]
Multiplicati sunt qui tribulant me
[1:49]
Loyset COMPÈRE (1445-1518)
Paranymphus salutat virginem
[3:14]
Anon
Verbum caro factum est a4
[4:35]
Salve Regina
[6:59]