A little while ago, when I interviewed
Peter Phillips and Steve Smith to mark the 30th anniversary
of Gimell Records they mentioned that a disc devoted to the
music of Jean Mouton would be forthcoming in due course. Here
it is. By a curious coincidence it’s only recently that The
Brabant Ensemble and Stephen Rice issued what I think is the
first disc devoted entirely to Mouton’s music. That’s a Hyperion
release and, in its download format, it was well
received by Brian Wilson. Happily there’s only one piece
that is common to both the Hyperion and Gimell programmes –
Mouton’s best-known work, Nesciens mater – so collectors
of Renaissance music who wish to investigate Mouton in some
detail are extremely well served.
There’s no doubt that Peter Phillips is an enthusiast for Mouton’s
work. He writes in his notes that Mouton’s music “is able to
convey such a spirit of calm and poise that in the whole gamut
of Renaissance art it is really only rivalled by the altar-pieces
of such painters as Giovanni Bellini and Hans Memling.”
Nesciens mater is deservedly the piece by which Mouton’s
name is kept before the public these days for this 8-voice motet
is a splendid composition and it receives a dedicated performance
here, the two four-part choirs nicely differentiated. However,
this programme proves that Mouton’s music deserves more general
recognition.
The Mass, which forms the core of this programme, is based on
a 3-voice (ATBar) chanson by Loyset Compère who, Peter Phillips
says, Mouton probably replaced as a canon of the cathedral at
St. Quentin on Compère’s death; both men are buried there. As
Phillips points out, in the Mass setting Mouton uses each of
the three musical lines in Compère’s chanson as if it were a
separate tune. Thus, I suppose, he derives three themes from
the same source. The Mass is scored, in the main, for ATBarB.
However, an extra tenor part is added for the ‘Pleni sunt caeli.’
More remarkably, Mouton scores his second Agnus Dei just for
three bass voices. This scoring is believed to be unprecedented
in Renaissance polyphony. It gives a most unusual vocal colouring,
which I think I’d describe as nut-brown.
The rest of the Mass is just as impressive and the fact that
altos take the top line with two low-voice parts gives a dark
richness to the choral textures. One feels the benefit of a
strong – but not overdone – bass line in passages such as the
opening pages of the Gloria. This is fluid, forward moving music
and the singing of The Tallis Scholars is really exciting. They
keep every strand of Mouton’s writing very clear. The pace slows
at ‘Qui tollis peccata mundi’ and remains so for the rest of
the movement. In the Credo one has the feeling that the music
is simply pouring out; only at ‘ex Maria virgine’ does Mouton’s
flow slow down. At the ‘Crucifixus’ a trio for two altos and
a baritone begins. Conventionally one might expect the full
ensemble to rejoin the fray at ‘Et resurrexit’ but intriguingly
– and effectively – Mouton stays with his three voices, though
the pace increases for the Resurrection and Ascension, holding
back the re-entry of the remaining singers for ‘Et iterum venturus
est’, which signals a virtuoso ending. After that burst of energy
the Sanctus unfolds majestically and expansively while the Agnus
Dei is slow and solemn. I infer from Peter Phillips’ note that
this is one of some fifteen Masses by Mouton. It’s a very fine
one and The Tallis Scholars have done it – and Mouton – proud.
Mouton served under the patronage of Anne, Duchess of Brittany
(1477-1514). She married the French king, Louis XII, in 1499
and this union brought Mouton into service at the French court.
In that capacity one presumes he would have been called upon
to write some ceremonial music and the motet Quis dabit
oculos? is one such example. In fact it’s a motet mourning
the death of his patron, Queen Anne. Scored for ATTB it’s a
grave, dignified piece. The music is very beautiful – and it’s
superbly sung here. Though the tone is restrained and noble
one senses that the piece is deeply felt and that its composition
was more than just an obligation of office.
There are two Marian pieces. Of these Ave Maria - virgo
serena is much the larger in scale. Where Ave Maria
– benedicta tu is a comparatively simple setting (ATTB)
its companion is more richly scored (SATTB) and sets a much
longer text. The music in this extended piece unfolds spaciously
and has a timeless quality. It’s a devotional piece, the quality
of which is essentially gentle and dignified. I simply loved
this; The Tallis Scholars give a characteristically poised and
polished performance of what is, I feel, an outstanding piece.
Over the last decade or so The Tallis Scholars have probably
done more than any other ensemble to open my ears to the glories
of Renaissance polyphony. This disc is another ear-opener. The
singing is flawless, as we’ve long since some to expect from
this group. Operating in their normal venue at Merton College
they’ve been recorded by engineer Philip Hobbs in sound that
lets the music breath and expand perfectly yet retains a fine
sense of the intimacy of just eight singers in the chapel.
This is another disc of exceptional quality from The Tallis
Scholars. With it Peter Phillips proves conclusively that the
music of Jean Mouton is worthy of a wide audience.
John Quinn
The Tallis Scholars/Peter Phillips