Tag: Renaissance

Academia Musica Choir, conducted by Aryan O. Arji
77:02
Priory PRCD 1108

[dropcap]T[/dropcap]he Latin church music of Sheppard, who died late in 1558, is finally beginning to receive the recognition it deserves. It suffered a setback nearly a hundred years ago when the Wall Street Crash put paid to a second series of Tudor Church Music  in which Sheppard’s music was going to feature, but a revival begun during the latter half of the twentieth century led to the publication of three volumes containing his Latin music in the series Early English Church Music, well before the notional quincentenary of his birth in 2015. Alongside this slow-burning but effective revival of his music for the Roman Catholic Church there has been parallel interest in his smaller Anglican oeuvre, leading to volume I of a pair of discs being released in 2013, with this volume II coming along just in time for the quincentenary.

The Academia Musica Choir is an interesting ensemble, being a combination of choral scholars and musicians in residence at Hereford Sixth Form College. Although this is a mixed choir, with young sopranos on the top line and a combination of males and females making up the altos, they have a sound not unlike a traditional male cathedral choir, and this is probably due to their age range. Volume I (PRCD 1081) included anthems for full choir and for men’s voices, the whole of the First Service, and all of Sheppard’s minute surviving repertory of music composed (or possibly arranged by contemporaries) for keyboard. This remains a disc to savour. Volume II contains more anthems, some carols, a reconstructed Evening Service, and the whole of the mighty and influential Second Service – another feast of music.

As early as the 1590s John Baldwin had noted that at least one passage in Byrd’s Great Service owed something to the setting of the same text in Sheppard’s Second Service. Roger Bray developed this line of thought in some sleevenotes about the evening canticles in 1996, and the following year, in an article published in Musical Times, I compared both Services in their entireties, noting Byrd’s structural and melodic debts to Sheppard – not that one would realise this from listening to Byrd’s Great Service, which is typically a work of relentless creativity and supreme confidence. Thanks to the performance on this disc, Sheppard’s Second Service emerges as a worthy inspiration and model for Byrd’s transcendent masterpiece. The seven movements, including the shortest – the Kyrie – supplied by the obscure John Brimley in the presumable absence of Sheppard’s original, are impressive as an entity, while the individual movements are just as impressive as separate pieces. Interestingly the uncredited writer of the sleevenotes seems more taken with the Evening Service for Trebles, which has been reconstructed by David Wulstan from the organ score, but for all that the writer feels that what we have of the Second Service is possibly an unpolished draft, to this reviewer it is the Second Service rather than the admittedly fine Evening Service for Trebles which is Sheppard’s Anglican masterpiece. Although necessarily not as expansive as much of his Latin music, there are still many moments of what we have come to expect of Sheppard: a case in point is the remarkable harmonic change in the Venite at the words “Forty years long”. The anthems and carols provide thinner gruel, again by liturgical and theological necessity, but I give you a new commandment  is one of the finest of all Tudor anthems.

The Academia Musica Choir gives a good account of this music. The singing is not perfect – there is for instance a particularly adolescent tenor entry in the Magnificat at the words “in God my saviour” – but it manages to be idiomatic, and this edginess combined with the accommodating acoustic of Gloucester Cathedral enables one to feel like being as close as possible to a real service without actually being present.

The sleevenotes are a major work of scholarship, and were in fact written by the editor of most of the music, Stefan Scot, who has also edited all of Sheppard’s Anglican music for a forthcoming volume in the series Early English Church Music. Stefan was responsible for discovering that the Creed from Sheppard’s First Service, on volume I, is virtually identical to the Creed in Tallis’s Mass for Four Voices; and on this recording he has included a carol with an attribution to Merbecke which he has discovered bears many hallmarks of other works by Sheppard. The project is fortunate to have the cooperation of this leading Sheppard scholar, and it is a mystery as to why his notes and editions are not credited – especially as he is ethical enough to credit Wulstan with editing the Evening Service for Trebles. Incidentally the organist who plays Sheppard’s few surviving keyboard pieces on volume I is also uncredited. For the record [sic] he is Michael Blake.
Everyone with any sort of interest in, or penchant for, or even taking a punt on, Sheppard should purchase this disc, at the least for the premiere of the complete Second Service. Although the recordings of its two evening canticles – by Christ Church Cathedral and The Sixteen – are tidier, they do not convey the sprawling magnificence of these movements. Indeed the only recording which is incontrovertibly preferable to one on this CD is Stile Antico’s version of I give you a new commandment  on their disc “Media Vita” (Harmonia Mundi HMU 807509) which is devoted to Sheppard, and which contains some of even their very best singing on record. Obviously all Sheppardista  should own both recordings.

Richard Turbet

Cantica Symphonia, Giuseppe Maletto
70:04
Glossa GCDP31908

[dropcap]I[/dropcap]t is indeed remarkable that this present disc is the first complete recording of the Isaac’s Mass Misericordias Domini, and several of the motets which accompany it here are also receiving premiere recordings. As one of Josquin’s most accomplished contemporaries, Isaac suffers perhaps from his versatility resulting in several of his minor works becoming very familiar but some of his great masterworks remaining neglected. One such is the Mass recorded here, a work of profound and original genius, and demonstrating the virtues so highly praised by the scholar Glareanus after Isaac’s death. Glareanus admires Isaac’s ability to decorate a cantus while embodying it fully into the polyphonic texture as well as his skill with brief musical motifs, often developed in elaborately extended sequences.

What is perhaps more striking to us is the highly ‘modern’ sound of this Mass setting, anticipating those concise settings of the French Court some fifty years after his death. Although the Mass is given a purely vocal treatment here, allowing Isaac’s magnificent and distinctive counterpoint to shine through, some of the motets are given altogether more lavish performances incorporating organ and stringed and brass instruments. The performers seem utterly at home with Isaac’s music and give highly persuasive accounts of all of the music here, making this a very valuable addition to the limited Isaac discography. An informative, intelligent and very readable programme note by Guido Magnano rounds off this impressive and highly enjoyable production.

D. James Ross

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The Marian Consort, conducted by Rory McCleery. The Rose Consort of Viols, led by John Bryan.
66:12
Delphian DCD34160

[dropcap]T[/dropcap]his superb disc manages to be both rewarding and frustrating: rewarding, because of the fine performances and excellent repertory; frustrating, because so many of the pieces are already available in equally distinguished recent versions, leaving other material from John Baldwin’s partbooks awaiting commercial recordings. On the one hand, it can be argued that there cannot be too many recordings of the title track, Tallis’s Loquebantur variis linguis, the luminous Whitsun Respond in seven parts which survives only in manuscript. On the other hand, the two motets by William Mundy on this disc, Adolescentulus sum ego and Adhaesit pavimento, are available in equally fine performances by Magnificat on “The Tudors at Prayer” (Linn CKD 447), while Sive vigilem by the variously spelt Derrick Gerarde (who with a name like that nowadays would be playing in goal for Tranmere Rovers) is on Signum Classics’ first disc of music from the Baldwin Partbooks “In the Midst of Life” sung superbly by Contrapunctus (SIGCD408). It all raises the question as to whether the putative purchaser would wish to own all these recordings, or would stick with just one. The latter would be a serious misjudgement because, despite the overlapping contents, all three consist of wonderful music, at least some of it not duplicated elsewhere; on the disc under review, one such work is the premiere recording of the Canon 6 in 1 by Byrd, played by The Rose Consort. These days Byrd premieres are few and far between, so this item is valuable discographically, but it is also valuable in its own right as an intriguing and delightful piece of music. It is followed appropriately by Byrd’s early motet O salutaris hostia whose violent discords are triggered by its complicated canonical construction. The Marian Consort’s interpretation does not begin as assertively as that of The Cardinall’s Musick (ASV CD GAU 178) but by the end is singeing listeners’ eardrums.

Another premiere recording is Christian Hollander’s Dum transisset Sabbatum which, despite possible first impressions, should emphatically not be dismissed as mere Franco-Flemish note-spinning. Concluding the disc is a work seldom recorded, but which becomes more remarkable as it proceeds, and which then compounds that remarkableness in subsequent hearings: this is John Sheppard’s Ave maris stella, a selection all the more welcome during what is being regarded as his quincentenary. Finally, multiple recordings have helped me out of one particular quandary. Hitherto I have been unable to decide whether I think that Taverner’s sublime six-part piece Quemadmodum, which survives with the Latin title but no text, was intended by the composer as a work for instruments or voices. Comparing the brisk performance on this disc by The Rose Consort with the more leisurely performances by Contrapunctus and Magnificat on the discs mentioned above, has convinced me that Taverner intended it as a vocal setting of Psalm XLII. For example, the sonority at the first appearance (in the modern edition) of the words “ad te Deus” is far more successful when sung; and the musical phrase accompanying the words (again in the modern edition) “et apparebo” sounds much more like a phrase that would be set to words (even if not these) rather than one composed for instruments. In summary, this is a superb disc, and however many pieces from it one might possess on other recordings, its outstanding performances, wonderful repertory and profound interpretations justify its purchase, without hesitation.

Richard Turbet

José Antonio Escobar vihuela de mano
66:05
Naxos 8.573305

[dropcap]L[/dropcap]uys Milán’s El Maestro (1536) was the first of seven books of vihuela music published in the 16th century. The first nine pieces are fantasias, in modes 1-4, not too hard to play, and graded according to difficulty. There follow nine fantasias with redobles (running passages) exploring all eight modes, four fantasias in modes 5-8, and six pavanas, the last of which is in triple time. José Antonio Escobar plays all the solo music in the order in which it appears in the source, and plans another CD to cover the rest of El Maestro (Libro 2). Milán’s music has an improvisatory feel, and he seems to enjoy the repetition of little motifs or riffs, which may be heard in more than one piece. In bars 73 and 77 of Fantasia 19, there is an extraordinary throw-back to earlier times with a double-leading note chord. There are some curious changes of harmony, such as the unexpected shift from major to minor in bar 15 of no. 3.

Escobar’s playing is clear and expressive, and he creates a variety of moods from the lively to the slow and reflective. He adds his own ornaments sparingly – an upper mordent here and a lower mordant there – and a flourish in the repeat of Pavana 1. He articulates chords to good effect, for example in Fantasia 19. He sounds fine when he keeps the rhythm steady, and he has a nicely paced ending to Fantasia 7, but sometimes he has a jerky way of playing – accelerating through fast passages – which creates a feeling of instability and unease. Milán advises playing fast notes extra fast, but he doesn’t invite a drastic change of speed within each phrase. Dotted minims tied over the barline are clipped in no. 3, also adding to the effect of stumbling forward. Escobar strums a few chords in the final track, but the momentary uplift from that, is spoilt by rushing the fast notes (minims).

Nine bars from the end of the second fantasia there is a serious mistake which has slipped through the editing net: instead of a chord consisting of just two E flats and B flat, Escobar catches the fourth course, adding a minor third, yet if a full triad had been desirable, a major chord would have been appropriate. The same rogue G flat can be heard in bar 83 of no. 3, bar 70 of no. 7, and bars 107, 165, 178 and 191 of no. 19. Rather than risk this happening, one might be tempted to hold down a G at the 2nd fret of the 4th course, so if the wrong string is sounded, at least the resultant major chord wouldn’t be so bad. However, the way to avoid G flat sounding at the fourth course, is to stop the second and third courses with the first finger of the left hand as if an open 1st course were needed, rather as a violinist would for stopping a perfect fifth, and not use a full barré across all the strings at the first fret.

For the final cadence of no. 4, I would dampen the open 6th course of the dominant chord before playing the final chord with the open 5th course in the bass. Escobar lets the 6th course ring on, producing a second inversion for the last chord – interesting, because in no. 5 he does dampen the string for a clearly stated final chord.

Escobar’s vihuela was made by Julio Castaños from Málaga, and is tuned to G at A=415. It has a clear, bright sound, which suits the music well.

Stewart McCoy

stile antico
72:57
harmonia mundi HMU 807575
Clemens non Papa: Motet/mass Pastores quidnam vidistis
+ Music by Eccard, Handl, Hassler, Hieronymus and Michael Praetorius & Vulpius

[dropcap]B[/dropcap]uilt around Clemens non Papa’s Christmas Mass Pastores quidnam vidistis, this collection brings us some of the less familiar Renaissance choral repertoire from the continent. Clemens’ Mass, elegant rather than profound, makes pleasant listening, as does his motet on which it is based, and the exquisitely fluid style of Stilo Antico, perfectly blended, beautifully tuned and phrased, serves perhaps to make adequate music sound special. The same is the case with the rather four-square German settings by Michael Praetrius, Johannes Eccard and Melchior Vulpius of vernacular texts, turned to musical gold by the beautifully expressive and crafted singing of Stilo Antico. The balance of the CD is made up with Latin motets by Handl and Hassler and a Magnificat by Hieronymus Praetorius. The daringly chromatic setting of Mirabile Mysterium by Handl exhibits the largely unappreciated skills of this lesser known composer, while his more declamatory Canite tuba demonstrates his versatility. Hassler’s exuberant Hodie Christus natus est is a complete delight, and Praetorius’ Magnificat with its very familiar Christmas ‘inserts’ is charming. There is a tiny recording issue in the second track where a background rumble which one could easily ignore turns rapidly on and off making it more obvious – I can hardly think this is the result of editing as the singing is perfectly continuous and only the rumble pops in and out. This is not enough to put off anybody from buying this superb CD, but a sharp-eared producer might have asked for a retake.
D. James Ross

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Sacqueboutiers, Ensemble Clément Janequin, Dominique Visse director
68:54
Flora 2410
Music by Attaignant, Bataille, Bertrand, Compère, Costeley, Janequin, Josquin, Lassus, Lejeune & Sermisy

[dropcap]F[/dropcap]or those acquainted with their work, it comes as no surprise that the Ensemble Clément Janequin have had a long association with the works of Rabelais. Their 1994 CD Une fête chez Rabelais was in itself the result of a successful concert programme, and this present CD was also preceded by a series of live performances. Such is the wealth of surviving Renaissance French chansons that the two CDs only have one chanson in common. The Sacqueboutiers, who nowadays have dropped their regional identifier ‘de Toulouse’, provide a forthright accompaniment for many of the numbers and some impressive instrumental numbers, while the singers, led by their distinctive alto/director Dominique Visse, present splendidly characterised performances of the songs. Over the years the Ensemble have made this area of Renaissance music their specialist realm, and their grainy, robust singing often skirting on the raucous, seems to me just right for the present project. Another major delight of this package is the selection of splendid readings largely from Rabelais’ Gargantua performed by the versatile-voiced Vincent Bouchot. It is unfortunate that the reader’s voice is given such an artificial studio acoustic, contrasting uncomfortably with the ‘live’ acoustic of the music, but Mons. Bouchot’s splendid Renaissance pronunciation carries all before it. Anglophone listeners will find the lack of translations a disadvantage, although the full texts of songs and readings are provided in French. The otherwise lavish accompanying book has excellent programme notes (in French only) and wonderful illustrations, some of the period (including the wonderful crumhorn-nosed figure on the cover), some designed specially for the publication.

D. James Ross

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Stimmwerck
62:10
cpo 777 937-2

[dropcap]I[/dropcap]n many ways there is no more exposed singing scenario than one-to-a-part fifteenth century vocal music. It demands a perfect blend and perfect intonation, and that on vocal lines which sometimes seem to defy melodic logic. This CD presents an intriguing selection of 15th-century motets and songs which places the big names – Dufay, Pullois and Brassart – alongside lesser figures such as de Sarto, Martini and Krafft as well as airing several anonymous works from the period. Unfortunately the standard of the singing is variable, often very fine and nicely blended, but just occasionally settling badly on to chords. It would be invidious to highlight particular voices, but bringing guest voices into an established ensemble is always a hazardous business. There is a pleasant come-and-go to the dynamics and a nice sweep to the melodic lines, and articulation is generally effective although just occasionally detail is lost. This CD is well worth the investment for the wealth of relatively unknown material it contains, brought to light as part of a project exploring musical life in Austria in the late middle ages.

D. James Ross

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“Tradizione scritta e tradizione orale”
Aquila Altera Ensemble
59:18
Tactus TC 300004

[dropcap]I[/dropcap]t is hard to pin down what case this CD is trying to make. The repertoire seems consist of works from written manuscript sources and, if the players are applying a huge degree of improvisation, this is not really apparent. In the case of the very familiar anonymous 15th-century Saltarello which appears as track 2 on the CD – it was used most notably as dance music in Zeffirelli’s film of Romeo and Juliet – it is hard to see what element of the oral culture has been applied to the printed source. The melody is repeated several times with different instrumental textures, but surely this is simply standard modern performance practice for this repertoire?

In some of the other pieces it is possible that there is a greater degree of improvisation, but not enough to establish the CD’s credentials as a discussion document on the subject. The performances are lively and generally engaging, but a rather thin and hissy recorded sound spoils the ambience and I was surprised to note that the recording was only two years old. Some of the of the more intensely-toned tracks such as those for soprano and recorders actually distort rather badly. Amongst the redeeming features is some terrific zampogna playing from Marco Cignitti and some very energetic dance numbers, but perhaps this programme needs to be streamlined and then brought into a studio for a higher-quality recording.

D. James Ross

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