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Reviewer:
Fabrice Fitch
Fortunately there’s more to these performances than novelty. Compared to the triumphal tone that marks out many SATB performances of Papae Marcelli, New York Polyphony’s approach is almost intimate, its details articulated from within. Some might find it almost too restrained, wish for more variety of projection or a more purposeful shaping of details (this last point one I’ve made in reviewing their earlier recordings). On the other hand, the blend and unanimity of ensemble is commendable, and seems to improve with each recording. There may be more finely honed interpretations of this much-loved work, but New York Polyphony’s take on it is worth hearing. The same goes for Victoria’s O quam gloriosum cycle, except that owing to its lighter scoring (four voices instead of the six or even seven of Papae Marcelli), any hint of tentativeness is more plainly exposed, for example at the ends of phrases or paragraphs, which sometimes tail off rather than provide closure. The
accompanying motets are well handled but seem rather overshadowed in the context
of the whole programme. That’s even truer of the plainchant selections, which
are shorn of their verses or repeats: even as palate-cleansers, they are quite
insubstantial. |
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