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Hyperion Records

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Tommaso Portinari and his Wife (c1470, detail) by Hans Memling (d1494)
Metropolitan Museum of Art, New York / Art Resource / Scala, Firenze
Track(s) taken from CDGIM211
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Philip Hobbs
Release date: November 2009
Total duration: 29 minutes 48 seconds

Missa Praeter rerum seriem
composer
author of text
Ordinary of the Mass

Other recordings available for download
The Tallis Scholars, Peter Phillips (conductor)
The Tallis Scholars, Peter Phillips (conductor)
Introduction  EnglishFrançaisDeutsch
In one sense very little of Rore’s Mass is original composition, yet he parodies his model so resourcefully that the stated material seems to take on new perspectives. To Josquin’s original six voices Rore added an extra soprano part. He then turned one of the existing parts, the first alto, into a long-note cantus firmus line which sings the words ‘Hercules secundus dux Ferrarie quartus vivit et vivet’ throughout to the devotional song melody quoted by Josquin. Rore’s extra soprano line gives a new colour to the writing, creating a brighter sonority which seems to take the music out of the middle Renaissance period altogether, even occasionally hinting at the Baroque. The passage at ‘Et in unum Dominum Iesum Christum’ in the Credo is almost pure Monteverdi.

The most impressive writing of all comes at the start of each of Rore’s Mass movements, where he develops the magisterial opening of Josquin’s motet. In the Kyrie Josquin’s version is given almost straight for lower voices, though Rore adds a new line in the second alto. In the Gloria an inversion of Josquin’s ascending scale is used alongside its original; this occurs again in the Credo in a more ornate form. But it is only in the Sanctus and Agnus Dei that the full potential of Rore’s two soprano parts becomes apparent in the context of this phrase, which seems to have expanded and broadened. The Sanctus opens with long rhapsodic lines in a widely-spaced sonority; the Agnus Dei goes a stage further in involving all the voices from the outset and for the first time underpinning everything with a statement of the song. In general the song is not heard until a movement or a section is well under way, when the extreme length of its notes effectively prevents it from blending into the texture. Only in two reduced-voice passages, the ‘Pleni’ and ‘Benedictus’ (both in the Sanctus), is it omitted altogether.

from notes by Peter Phillips © 1994


Other albums featuring this work
'Rore: Missa Praeter rerum seriem' (CDGIM029)
Rore: Missa Praeter rerum seriem
'Sacred Music in the Renaissance, Vol. 2' (GIMBX302)
Sacred Music in the Renaissance, Vol. 2
MP3 £15.99FLAC £15.99ALAC £15.99Buy by post £17.50 GIMBX302  4CDs Boxed set (at a special price)  

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