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For this recording the text has been largely reset, using a distinctively English practice known as telescoping which may have been applied in Power’s original version. This produces, as with a polytextual motet, a counterpoint of text and voice which can enable the lengthy ritual texts of the Credo to be dispatched more succinctly than would otherwise be the case. In this instance, it allows for a more extended, melismatic character within the upper two voices which in contrast are very syllabic in their sole surviving source. Combined with Power’s skilful control of texture, this gives a greater rhetorical power to the brief sections in which only a single text is heard, the otherwise dense counterpoint of texts briefly coalescing into unified declamation.
from notes by Andrew Kirkman & Philip Weller © 2017