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Hyperion Records

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The Last Judgement by Rogier van der Weyden (1399-1464)
Hôtel-Dieu, Beaune, France / Photograph © Paul M. R. Maeyaert, Etikhove-Maarkedal, Belgium
Track(s) taken from CDGIM026
Recording details: Unknown
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Mike Clements & Mike Hatch
Release date: September 1992
Total duration: 16 minutes 47 seconds

'The Tallis Scholars bring to this performance of Brumel's 'Earthquake' Mass … their faultless sixteenth-century technique and their wide experience of renaissance music. In addition, the clean acoustics of the parish church of Salle in Norfolk provide them with ideal sound conditions for tackling music of such complexity. Indeed, the lines are easily distinguished and the overall effect is one of controlled precision and perfection … the inclusion by Phillips of Brumel's two wonderful deep-toned Good Friday Lamentations is greatly to be welcomed and the composer's solemn Mode II Magnificat setting was a brilliant choice with which to round off this fine 'The Tallis Scholars bring to this performance of Brumel's 'Earthquake' Mass … their faultless sixteenth-century technique and their wide experience of renaissance music. In addition, the clean acoustics of the parish church of Salle in Norfolk provide them with ideal sound conditions for tackling music of such complexity. Indeed, the lines are easily distinguished and the overall effect is one of controlled precision and perfection … the inclusion by Phillips of Brumel's two wonderful deep-toned Good Friday Lamentations is greatly to be welcomed and the composer's solemn Mode II Magnificat setting was a brilliant choice with which to round off this fine recording' (Gramophone)

Magnificat secundi toni
composer
author of text
Luke 1: 46b-55

Introduction  EnglishFrançaisDeutsch
Brumel’s Second Tone Magnificat is a through-composed setting, where most would have alternated chant and polyphony. Its compositional style is surprisingly close to that of the twelve-part Mass, except that the chant is stated mainly in the top part in embellished form. Brumel here again relied on rhythmical sequences, at times almost baroque in their vitality, which give an interesting perspective, in four parts, to the astonishing twelve-part music of the Mass.

from notes by Peter Phillips © 1992

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