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Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: August 1999
Total duration: 63 minutes 38 seconds
GRAMOPHONE CRITICS' CHOICE
'Even among the Westminster Cathedral Choir's superb records this disc stands out. Perfect chording and ensemble, natural and musical phrasing, spot-on intonation and a glorious tonal blend, make this issue one to treasure' (The Penguin Guide to Compact Discs)
'This work could not be better sung than, as here, by the choir of Westminster Cathedral' (Contemporary Review)
'The listener can rejoice in the sumptuousness of the Westminster Cathedral sound with none of the anxiety over niggling imperfections that one suffers when hearing almost any other ensemble. The combination of accuracy with mastery of style is unrivalled' (Gramophone Early Music)
'Under James O'Donnell, Westminster Cathedral Choir has developed into what many regard as the nation's finest church choir. This release justifies that reputation. Palestrina's music emerges as more than the stuff of academic legend. There's a vibrancy in the opening Laudate pueri, while Peccantem me quotidie and Tribulationes civitatum both touch deep emotions, and the Mass Ecce ego Johannes radiates noble majesty. We are reminded that Palestrina was a highly individual composer, and every bit as Italian as, say, Monteverdi' (The Sunday Times)
'Joyous performances' (BBC Music Magazine)
'For sheer beauty of sound this recording is unsurpassed' (Gramophone)
'Yet another superb disc from Westminster Cathedral ... many consider not only the finest cathedral choir in Britain, but one of the best in the world. The sound is quite glorious.' (Goldberg)
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Laudate pueri
[6'38]
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Peccantem me quotidie
[4'38]
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Tribulationes civitatum
[7'24]
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Movement 1: Kyrie
[4'47]
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Movement 2: Gloria
[4'49]
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Movement 3: Credo
[7'37]
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Movement 4: Sanctus
[2'36]
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Movement 5: Benedictus
[2'41]
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Movement 6: Agnus Dei I
[2'18]
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Movement 7: Agnus Dei II
[2'38]
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Tu es Petrus
[3'52]
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Magnificat Quarti toni
[7'50]
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Cantantibus organis
[5'50]
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Still thought of today as the grand master of the polyphonic style, Palestrina was highly regarded and much published in his lifetime. His output comprises one hundred and four certainly attributed Masses, over three hundred and seventy-five motets, sixty-eight offertories, at least sixty-five hymns, thirty-five Magnificats, four (possibly five) sets of Lamentations, and over a hundred and forty madrigals! The six-voice Missa Ecce ego Iohannes presented here is based on an unknown model. The text 'Ecce ego Iohannes', from the Book of Revelation, is used for the chapter (capitulum) at Vespers on All Saints' Day, and it appears elsewhere (in the Sarum books, for example) as an antiphon at Matins for the same feast. The character of Palestrina's setting, however, suggests that it might well have been based on a polyphonic model. It is a powerful, confident work on a par with the Missa Papae Marcelli and Assumpta est Maria - just listen to the very first notes of the Kyrie. The motets that follow the Mass show a more festive side to Palestrina, with exuberant melismatic writing. All of these pieces deserve to be better known and there can be no choir better equipped to show the world the beauty of this music. |