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Reviewer:
Fabrice Fitch Promise in spades, then, but reservations also. One notes in the more sombre pieces (which make up the bulk of the music) a tendency for tempos to decelerate so that what began slowly finally verges on the ponderous. This may be symptomatic of a reverential attitude that extends not just to the most famous pieces (Byrd’s Ne irascaris, Domine and Tallis’s Suscipe quaeso) but to programming. An anthology of English motets needs little justification, but this has an air of ‘greatest hits’ about it – especially when the two outliers, Dunstable and Tomkins, are each represented by one very famous piece. The contrast of styles can at times jar, for example when Morley’s frothy, canzonetta-like ‘motet’ follows Dunstable; more seriously, it’s a pity for such a talented ensemble to introduce itself so conservatively. (Equally jarring is the edit on the final chord of Byrd’s Vigilate.) In short, I look forward to hearing them in a more focused recital. |
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