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Hyperion Records

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Christ's Charge to Peter (c1616) by Peter Paul Rubens (1577-1640)
Reproduced by permission of The Wallace Collection, London / Bridgeman Art Library, London
Track(s) taken from CDA67785
Recording details: March 2009
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: March 2010
Total duration: 29 minutes 30 seconds

'Works by two 16th-century masters of sacred music are here given sublime performances' (The Daily Telegraph)

'Westminster Cathedral Choir has had Palestrina coursing through its veins for generations and if anybody can make it sound real and vital for the passive listener, it can; and it does, with supreme success here … a truly absorbing experience, given the complete ease and naturalness with which this outstanding London choir performs this elevated music. It is, indeed, a rare listening pleasure' (International Record Review)

Missa Tu es Petrus
composer
6vv SSATBB; based on Palestrina's 6-part Tu es Petrus; first published in 1887 in a transcription made by Haberl (xxiv, 105) from manuscripts in the Vatican Library
author of text
Ordinary of the Mass
editor
JOED P11

Kyrie  [4'26] GreekEnglish
Gloria  [5'20] LatinEnglish
Credo  [8'39] LatinEnglish

Introduction  EnglishFrançaisDeutsch
The Missa Tu es Petrus is in six parts, set for SSATBB. It was first published in 1887 by Haberl on the basis of transcriptions he made from manuscript sources in the Vatican Library. This is a parody Mass based closely on Palestrina’s own motet for the Feast of St Peter and St Paul (published in Rome in his second book of motets in 1572), from which a great deal of the musical material of the Mass is drawn, in places reproducing more or less verbatim the notes of the motet, particularly in the opening of most of the main movements of the Mass. The motet, which precedes the Mass in the recording, is written in a bright major tonality, and has a very clear antiphonal structure in which constantly varying combinations of voices pass phrases of the text back and forth to great effect, giving the whole a wonderfully joyous and uplifting quality. The Mass embodies much similar music, adapted of course to the words of the Mass, but also introduces new music using a more fugal style, sometimes with extensive passages of figuration, which enriches and widens the scope of the Mass.

from notes by Jon Dixon © 2010

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