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Reviewer: J.
F. Weber If the opening words of the gradual for Easter are not obvious enough, the subtitle is “Music for Easter.” That and three other Propers from the Mass are sung in Gregorian chant. The program opens with an Easter motet by Orlandus Lassus and closes with his Magnificat super Aurora lucis rutilat based on it, the latter recorded recently by Daniel Reuss (Fanfare 39:4), and previously by Harry Christophers (35:6), Manfred Cordes (31:1), Bruno Turner (6:4; CD in 14:1), and an ensemble from Uruguay that I have never heard. Taverner’s Easter responsory Dum transisset Sabbatum I (I had to determine which one of the two) was just recorded by Peter Phillips (39:4). Byrd’s Haec dies is the much-recorded six-voice setting of 1591, while the Pascha nostrum comes from the Gradualia of 1607; both are in Andrew Carwood’s series (33:6 and 25:1). The Palestrina Terra tremuit comes from his 1593 set of offertories, this one recently recorded in Harry Christophers’s continuing survey (36:6). Jean L’Héritier is represented by Surrexit pastor bonus, a responsory for the day after Easter, recorded in Stile antico’s superb collection of Holy Week and Easter polyphony (36:4), and earlier by Jeremy Summerly (18:3). Lassus also set the same text, recorded by John Scott Whiteley (33:1) and Reinhard Kammler (18:2); Haig Mardirosian (26:2) recorded it along with the composer’s own parody Mass.
So much for the Renaissance.
The collection goes on to Scheidt and Bassano (17th century); S. S. Wesley
(19th century, not to be confused with his father Samuel); and half a dozen
modern composers including Matthew Martin (b. 1976), whose Haec dies is
heard following Byrd’s setting, commissioned by this choir and dedicated to
it. The disc is the sixth in a series of programs of music for the seasons
of the liturgical year, though I have reviewed only the first one (37:4).
That one also included works by four contemporary British composers. Like
this disc, the first one also included a movement from Rachmaninoff’s
All-Night Vigil. The mixed choir of 27 voices reaches a high level of
achievement, well balanced, responsive, with fine soloists; the singing of
the chants is lovely. As broad-ranging collections go, this is well planned
and beautifully executed. | |
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