ROGIER Choral Works; STRIGGIO 40-Part Mass
Writing for several choirs is a grand affair, as these new recordings reveal
View record and artist detailsRecord and Artist Details
Composer or Director: Philippe Rogier, Giovanni Palestrina
Genre:
Vocal
Label: Linn Records
Magazine Review Date: 5/2011
Media Format: Hybrid SACD
Media Runtime: 73
Mastering:
Stereo
DDD
Catalogue Number: CKD348
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
Magazine Review Date: 05/2011
Media Format: CD or Download
Media Runtime: 78
Mastering:
Stereo
DDD
Catalogue Number: 478 2734DH2
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 |
Author: Fabrice Fitch
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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