Under the influence of Guerrero’s Maria Magdalene
Lobo’s Mass is, at times, just as purely sonorous. Every major section begins with the opening notes of the Guerrero (in the Sanctus, in double counterpoint; in the Agnus, in stretto) which immediately establish a mood of unhurried grandeur. Rarely did Lobo feel inclined to break this up, and even in sub-sections which do not initially refer to the Guerrero the textures are spacious, as in the ‘Christe’. The main exceptions are the second ‘Kyrie’ and the ‘Hosanna’, which come closer to some of the sections in his motets – the phrases shorter, the texture lighter and the ‘Hosanna’, in particular, relying on cross-rhythms.
from notes by Peter Philips © 1997