Hyperion Records

Missa Amor ecco colei
composer
6vv; SSATTB; published in Orlandi de Lasso … Missae posthumae, Munich, 1610
author of text
Ordinary of the Mass

Recordings
'Lassus: Prophetiae Sibyllarum & Missa Amor ecco colei' (CDA67887)
Lassus: Prophetiae Sibyllarum & Missa Amor ecco colei
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Details
Movement 1: Kyrie
Movement 2: Gloria
Movement 3: Credo
Movement 4: Sanctus and Benedictus
Movement 5: Agnus Dei

Missa Amor ecco colei
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Like the great majority of Lassus’s Masses, Missa Amor ecco colei is a so-called ‘parody’ setting: though no model has been firmly established, it resembles a villanelle on this text by Prospero Caetano. About a quarter of Lassus’s Mass output is for six voices, and the SSATTB voice disposition of Missa Amor ecco colei seems to have been a favoured one: doubling the soprano and tenor lines permits contrast between high and low choirs of three voices, which the composer exploits fully. The Mass is particularly notable for the exuberant running motifs in which the soprano voices either alternate, or sing together in thirds. The Benedictus features an unusually long sequence, a device that is used to such an extent that one would think of an earlier composer such as Obrecht rather than the habitually more rhetorical Lassus. Also worthy of note is the emphasis in the Credo on the words ‘unam sanctam catholicam et apostolicam’, the Munich court having remained faithful to the Catholic church at the Reformation.

from notes by Stephen Rice © 2011

Track-specific metadata
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Details for CDA67887 track 20
Credo
Artists
ISRC
GB-AJY-11-88720
Duration
7'08
Recording date
5 September 2010
Recording venue
The Chapel of Harcourt Hill campus, Oxford Brookes University, United Kingdom
Recording producer
Jeremy Summerly
Recording engineer
Justin Lowe
Hyperion usage
  1. Lassus: Prophetiae Sibyllarum & Missa Amor ecco colei (CDA67887)
    Disc 1 Track 20
    Release date: August 2011
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