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Hyperion Records

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The Penitent Magdalen by Sir Anthony van Dyck (1599-1641)
Private Collection / © Agnew's, London / Bridgeman Art Library, London
Track(s) taken from CDA67836
Recording details: November 2009
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: August 2010
Total duration: 32 minutes 5 seconds

'This latest addition to Guerrero's discography is especially to be welcomed for his fine Mass on a motet by Thomas Crecquillon, in which one hears echoes of the style of Guerrero's near-direct contemporary, Palestrina. Like its model it is a joyful, extrovert piece, to which Andrew Carwood's singers respond with an equal measure of buoyancy and vigour' (Gramophone)

'This Mass, beautifully sung by The Cardinall's Musick, reflects Guerrero's soaring style' (The Independent)

'Since 1989, Andrew Carwood has nurtured the group to its current status as a leading exponent of Renaissance music, retaining the essential quality of individual vocal timbres that contribute to a refined, characterful mix and with a polish that is second to none … this entire disc is captivating in its fluency and expressive power' (The Daily Telegraph)

'This is one of the finest Guerrero discs … Carwood has given us a program of the highest distinction … it is beyond excellent' (Fanfare, USA)

Missa Congratulamini mihi
Liber primus missarum, 1566; SSAT(B)B; based on Crecquillon's SATBB motet Congratulamini mihi
author of text
Ordinary of the Mass

Kyrie  [4'15] GreekEnglish
Gloria  [6'03] LatinEnglish
Credo  [9'14] LatinEnglish

Introduction  EnglishFrançaisDeutsch
Guerrero re-works many of Crecquillon’s themes to form his Missa Congratulamini mihi, and this in itself is a tribute to his consummate compositional abilities. Interestingly the only theme Guerrero seems not to use is the motif associated with ‘et dum flerem’. The rollicking Hosanna is a particularly clever movement when he marries two themes—‘Congratulamini mihi’ and ‘vidi Dominum meum’ (‘Rejoice with me’ and ‘I saw my Lord’)—and thus provides in a nutshell the very heart of the matter. To enhance the Easter joy, and unlike Crecquillon, Guerrero chooses not to use two bass parts but writes two treble parts instead. In the final invocation of the Agnus Dei he restores the second bass voice and repeats the marriage of themes already used in the Hosanna but this time with music of exquisite serenity.

The five-part texture is maintained throughout most of the Mass but Guerrero uses a trio in the Gloria and a telling duet followed by another trio in the Credo. Further delights come when Guerrero allows himself the freedom to compose new material (the ‘Et incarnatus est’ in the Credo and the prayerful Benedictus) and briefly moves away from the sunny disposition of the Mass.

from notes by Andrew Carwood © 2010

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