ROGIER Choral Works; STRIGGIO 40-Part Mass

Writing for several choirs is a grand affair, as these new recordings reveal

Record and Artist Details

Composer or Director: Philippe Rogier, Giovanni Palestrina

Genre:

Vocal

Label: Linn Records

Media Format: Hybrid SACD

Media Runtime: 73

Mastering:

Stereo
DDD

Catalogue Number: CKD348

ROGIER Choral Works

Tracks:

Composition Artist Credit
Domine Dominus noster Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer
Missa Domine Dominus noster Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer
Regina Caeli Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer
Laudate dominum Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer
Domine in virtute tua Giovanni Palestrina, Composer
Giovanni Palestrina, Composer
Magnificat
Philip Cave, Conductor
Missa Domine in virtute tua Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer
Videntes stellam Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer
Verbum caro Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts
Magnificat
Philip Cave, Conductor
Philippe Rogier, Composer

Composer or Director: Vincenzo Galilei, Alessandro Striggio, Anonymous, Thomas Tallis

Genre:

Vocal

Label: Decca

Media Format: CD or Download

Media Runtime: 78

Mastering:

Stereo
DDD

Catalogue Number: 478 2734DH2

STRIGGIO 40-Part Mass

Tracks:

Composition Artist Credit
Ecce beatam lucem Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
John Hollingsworth, Conductor
Missa Ecco si beato giorno Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
Contrapunto secondo di B M Vincenzo Galilei, Composer
(I) Fagiolini
Robert Hollingworth, Conductor
Vincenzo Galilei, Composer
Fuggi, spene mia Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
O giovenil ardire Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
Altr'io che queste spighe Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
D'ogni gratia et d'amor Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
O della beata Etruria Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
Caro dolce ben mio Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
Misero ohimè Alessandro Striggio, Composer
(I) Fagiolini
Alessandro Striggio, Composer
Robert Hollingworth, Conductor
Spem in alium Anonymous, Composer
(I) Fagiolini
Anonymous, Composer
Robert Hollingworth, Conductor
These two new recordings explore the rich polychoral repertory of the late 16th century, which may with justification be regarded as a harbinger of Baroque sensibility. Several years ago Magnificat recorded the Missa Ego sum qui sum by Philippe Rogier, one of Philip II of Spain’s chapelmasters. Both the work and the performance were so convincing that a second visit is not entirely surprising, for all Rogier’s comparative obscurity, and the choice of pieces, being exclusively polychoral, contrasts with the earlier recording. This type of writing tends to a certain conventionality, which places the responsibility on the performers to bring to the fore the music’s spatial and dynamic qualities, as well as clothe it in suitably opulent colours. The purpose of such music, after all, is to instil a sense of the marvellous. Whether Magnificat entirely achieve this is debatable: the Missa Domine Dominus noster was previously recorded for Ricercar under the direction of Jean Tubéry, whose faster tempi, more incisive approach and variegated sonic image are ultimately more compelling. That the new recording lacks the polish and panache of Magnificat’s previous Rogier disc is partly explained by the fact that the ensemble’s membership on the two discs is almost entirely different. That said, the chance to hear more of Rogier’s music is undoubtedly welcome.

By contrast, I Fagiolini had no choice but to “super-size” themselves to do justice to Alessandro Striggio’s monumental Missa Ecco sì beato giorno, recently rediscovered by Davitt Moroney and given its first performance in modern times at the Proms in 2007. The composer toured Europe in 1567, either with this piece or the 40-part motet Ecce beatam lucem, famously provoking a response from Tallis. Striggio’s motet has often been recorded alongside Spem in alium but here we go one better with all three (and a selection of motets that make the case for Striggio’s accomplishments more completely). In a move typical of Renaissance Masses, Striggio piles on 20 more voices in the final Agnus Dei. A friend of mine, listening to this recording, mouthed the word “minimalism”; and the sense of waveforms shaped around recurring harmonic patterns does indeed remind one of latter-day musical developments. It’s easy to compare Striggio unfavourably to the great Englishman but the new work especially reveals that to do so misses the point. The variegated plumage Striggio intended for his creation induces precisely the marvel I mentioned earlier and I Fagiolini seem to revel in the showy splendour of it all. The comparison’s often valid for polychoral music generally but the monumental canvas on which Striggio works makes it especially so. When at last we’re given Spem, we’re made to appreciate the parallel as never before, not least because Hollingworth has chosen his combination of voices and instruments with care. This time, Striggio’s contribution is not heard as the “also-ran” in a competition; rather, it is the creative irritant whose siren song stirred the “humble and quiet” Tallis into superb arrogance. Worth hearing? Definitely.

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