The exuberance and joy of Easter are clear to see in Thomas Crecquillon’s setting of Mary Magdalene’s encounter with the risen Christ Congratulamini mihi
. So total is the composer’s sense of joy that even the words ‘et dum flerem’ (‘and while I was weeping’) receive only scant attention—a quick semiquaver figure in one voice part gives the merest suggestion of a tear. The secunda pars is more sombre, as the confused Magdalene attempts to make sense of the empty tomb. Crecquillon uses a common device of Renaissance motet composition and repeats the music from the end of the first section in order to complete the second, and thus the sense of joy is recaptured.
from notes by Andrew Carwood © 2010