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Hyperion Records

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The Creation of Adam by Michelangelo Buonarroti (1475-1564)
Vatican Museum
Track(s) taken from CDGIM033
Recording details: Unknown
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Philip Hobbs
Release date: September 2000
Total duration: 8 minutes 4 seconds

'Previously unrecorded, Morales's Missa Si bona suscepimus is performed here by The Tallis Scholars with passion, commitment, sensitivity and vigour. In all, this is the best sort of 'historically aware' performance' (International Record Review)

Andreas Christi famulus
composer
author of text

Introduction  EnglishFrançaisDeutsch
The motet, Andreas Christi famulus is one of the greatest compositions of its time—a supreme piece of sustained eight-part writing—indeed every bit as impressive as Pater peccavi, now also attributed to Crecquillon. The measured solidity of Crecquillon’s style contrasts very obviously with the more fluid, less dense writing of the Missa Si bona suscepimus, leading one to wonder how the misattribution of Andreas could have gone on for so long. At any rate a reappraisal of Crecquillon is obviously called for.

Thomas Crecquillon (c.1505/10–1557) was best known in his lifetime as Court Composer to the Emperor Charles V, probably the most prestigious job of its kind, and one which Morales himself dearly wanted. They both applied for it in 1540; after being appointed Crecquillon stayed there until 1550 when he retired. Andreas Christi famulus was written for the 1546 meeting of the Order of the Golden Fleece, of which St Andrew (‘Andreas’ of the title) was the patron saint. This meeting probably took place in Utrecht and is supposed to have been attended by Francis I of France and Henry VIII of England as well as Charles V: the first performance of this motet was therefore a most august occasion. To emphasise the importance of Saint Andrew, Crecquillon, in the second half of the motet, gives the second tenor an independent line of music with its own text. This generates the emotional heart of the setting, which ends in a sustained burst of the most sonorous praise.

from notes by Peter Phillips © 2000

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