Giovanni Pierluigi da Palestrina (1525-1594) Missa Assumptua est Maria in caelum 00:00 Kyrie 04:40 Gloria 10:20 Credo 18:26 Sanctus & Benedictus 23:58 Agnus Dei I & II 29:46 Bonus: Assumptua est Maria in caelum The Tallis Scholars Director: Peter Phillips Recorded in 1989, at Oxford www.thetallisscholars.co.uk/ Peter Phillips: « Palestrina is the composer The Tallis Scholars have sung and recorded most frequently. There need be no surprise in this: the quality of his music merits all the fame it has been accorded over the centuries, making him probably the most talked-about writer in the history of Western classical music (Beethoven, Mozart and Wagner are possible rivals in this, but with them the process hasn't been going on for so long). But there is more to Palestrina than his ability to write a masterpiece every time he sat down to compose: his style makes demands of its performers which no other composer quite made. We have come to realize that if a group can sing Palestrina well it can sing any choral music well, for in his music there is no hiding-place. The sonorities are so clear, the logic of the writing so compelling, that one sound out of place is immediately detectable; and a blemish is more serious in music which depends on sheer sound for its impact than in more pictorial or rhetorical compositional styles. With Lassus and Byrd, for example, interpretation through the words alone will go a long way to producing a convincing performance; Palestrina requires his performers to think more carefully about the sound itself. The nearest comparison is with the passage-work in Mozart's piano music, which is equally so clearly and logically conceived that a stray note can acquire a disproportionate influence. Just as a pianist must rehearse scales and arpeggios to play Mozart well, so a vocal ensemble must work on blend and tuning to sing Palestrina well. There is no better or more rewarding way of learning how to sing Renaissance polyphony. (…) The Missa Assumpta est Maria, based on his own motet of that name which in turn is based on a short phrase of chant, is a classic example of sonorous Palestrina, its excitement achieved in large part by doubling the sopranos and tenors. The brighter sound this high-scored six-voice (SSATTB) choir produces is then emphasized in the style of the writing, which is more chordal than usual. The parody motet Assumpta est Maria shows the way in its opening bars: the three upper voices are grouped against the three lower ones in easily audible antiphony. This late-Renaissance method is then transferred to the Mass, most obviously in the Gloria and Credo but also in the first Kyrie, where greater elaboration was more customary. The sheer verve of this music has ensured that, along with Papae Marcelli, Assumpta est Maria has remained the most performed of all Palestrina's 107 Mass-settings. (…) » ❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Gregorian Chants: Septuagesime Mass by Dom Joseph Gajard 🎧 Qobuz bit.ly/3tNynxY Tidal bit.ly/3MA4o5v 🎧 Apple Music apple.co/3MxXoGd Deezer bit.ly/3MxtH82 🎧 Amazon Music amzn.to/3vTgel0 Spotify spoti.fi/3sZo6zE 🎧 RU-vid Music bit.ly/3Xaa7TC Napster bit.ly/487jadS 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本…
Wunderschöne Interpretation dieser perfekt komponierten Messe mit gut harmonisierten und perfekt synchronisierten Stimmen aller Sänger und Sängerinnen. Der intelligente und gelehrte Dirigent leitet das ausgezeichnete Vokalensemble im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Tiefempfunden vom Anfang bis zum Ende!
Peter Phillips: « Palestrina is the composer The Tallis Scholars have sung and recorded most frequently. There need be no surprise in this: the quality of his music merits all the fame it has been accorded over the centuries, making him probably the most talked-about writer in the history of Western classical music (Beethoven, Mozart and Wagner are possible rivals in this, but with them the process hasn't been going on for so long). But there is more to Palestrina than his ability to write a masterpiece every time he sat down to compose: his style makes demands of its performers which no other composer quite made. We have come to realize that if a group can sing Palestrina well it can sing any choral music well, for in his music there is no hiding-place. The sonorities are so clear, the logic of the writing so compelling, that one sound out of place is immediately detectable; and a blemish is more serious in music which depends on sheer sound for its impact than in more pictorial or rhetorical compositional styles. With Lassus and Byrd, for example, interpretation through the words alone will go a long way to producing a convincing performance; Palestrina requires his performers to think more carefully about the sound itself. The nearest comparison is with the passage-work in Mozart's piano music, which is equally so clearly and logically conceived that a stray note can acquire a disproportionate influence. Just as a pianist must rehearse scales and arpeggios to play Mozart well, so a vocal ensemble must work on blend and tuning to sing Palestrina well. There is no better or more rewarding way of learning how to sing Renaissance polyphony. (…) The Missa Assumpta est Maria, based on his own motet of that name which in turn is based on a short phrase of chant, is a classic example of sonorous Palestrina, its excitement achieved in large part by doubling the sopranos and tenors. The brighter sound this high-scored six-voice (SSATTB) choir produces is then emphasized in the style of the writing, which is more chordal than usual. The parody motet Assumpta est Maria shows the way in its opening bars: the three upper voices are grouped against the three lower ones in easily audible antiphony. This late-Renaissance method is then transferred to the Mass, most obviously in the Gloria and Credo but also in the first Kyrie, where greater elaboration was more customary. The sheer verve of this music has ensured that, along with Papae Marcelli, Assumpta est Maria has remained the most performed of all Palestrina's 107 Mass-settings. (…) » www.thetallisscholars.co.uk/
