This second instalment of Gombert from Henry’s Eight (the first was reviewed in 10/96) is cause for celebration. For one thing it reinforces the impression of him as the most involving composer of his generation; the booklet-note aptly describes his music as a cross between the imitative processes of Josquin’s generation and the seamless style of Ockeghem. But Gombert’s representation in the catalogue hardly bears out such flattering comparisons; for Henry’s Eight to put out a second Gombert disc in less than a year is an act of considerable faith and self-confidence.
The Missa Tempore paschali is thought to be a fairly early work, whereas the Magnificat is one of a set that probably dates from Gombert’s last years. The Mass is most ambitious, culminating in a 12-voice Agnus Dei modelled (curiously enough) on Brumel’s Mass Et ecce terre motus. When the first Gombert recording with Henry’s Eight appeared I was inclined to give the Huelgas Ensemble’s recital the edge; this time the two versions are more evenly matched. The Flemish ensemble have the more distinctive voices (including sopranos on the top lines), and their sound is wonderfully transparent, making it easier to discern individual lines. These are perhaps more distinctively shaped than in the reading by Henry’s Eight, but the English group have a surer grasp of large-scale form in the Credo, and the final Agnus Dei seems to crown the Mass in a more credible manner. An added feature is the more inventive, and highly convincing, use of false relations in the readings prepared for Henry’s Eight by John O’Donnell (for both discs; the Huelgas Ensemble rely on an earlier edition, more cautious and also less accurate). The result is deliciously acidic, with invigorating harmonic incident throughout.
The Mass is complemented by some of the composer’s most well-known works; the motet In illo tempore is particularly lovely. It gives some idea of its worth that, of all the possible examples from Josquin to Palestrina, this was the work that Monteverdi chose as a model for his own exercise in the strict style of his forebears. Henry’s Eight respond with some particularly sensitive singing, especially in the top line. Those already familiar with their very English, yet full-bodied sound won’t be disappointed; those who aren’t can start here. As to a choice to be made between them and the Huelgas, that is a matter of personal taste. The Mass apart, there is no duplication, and the approaches are not so much contrasting as complementary. I hope that Henry’s Eight will continue this series, for Gombert has found worthy champions.'