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Reviewer: Charles
Brewer
Peter Phillips and the Tallis
Scholars continue their progress through the Josquin masses with two very
different works, the early Ami Baudichon Mass, based on a somewhat baudy
popular tune, and the middle-period Gaudeamus Mass, based on a significant
introit melody as Willem Elder and Peter Phillips have suggested, the
version associated with the Feast of All Saints was more likely a factor in
Josquin’s conception of this work. Thus it seems a bit inappropriate to sing
the Marian version of the introit before the Mass on this recording. As in
the earlier releases of this series (J/F 1990, J/A 2008, M/A 2012, M/A
2017), the general quality of this performance is not in doubt. In both
Masses, the three singers on the tenor always allow the cantus firmus to be
clearly heard in the midst of Josquin’s polyphony. As in their earlier
releases, the choral sound of the Tallis Scholars is very “English” and
treble dominant; the basses could have been more prominent. The interpretat-ion
of the Ami Baudichon Mass seems a bit sedate for the tune, which, as the
booklet notes, is similar to ‘Three Blind Mice’. The earlier recording by
Capella Alamire is only slightly faster (S/O 1995), but neither recording
seems to capture its dance-like character. There are more comparisons for
the Gaudeamus Mass. While Bourbon’s interpretation (M/J 2014) is better than
the 1998 release by A Sei Voci (J/A 1998), which I find a bit sloppy, it is
eclipsed by the clarity and ensemble of De Labyrintho (J/A 2006). The Tallis
Scholars in comparison to De Labyrintho seem to soften the rhythms and, as
in their interpretation of L’ami Baudichon, miss some of the vitality of
Josquin’s counterpoint. If you appreciate the approach to Josquin taken by
Phillips and the Tallis Scholars, this new release will be a welcome
addition. As always, the booklet is informative and even includes the music
for both the ‘Gaudeamus omnes’ introit and the ‘L’ami Baudichon’ tune (with
the rude word in brackets, since it was left out of the only copy of the
complete text). While the texts and translations for the introit and Mass
are included, the translation for the song is not (it was also omitted on
the Capella Alamire recording). | ||||
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