ROGIER Missa Inclita stirps Jesse. Missa Philippus Secundus Rex Hispaniae
Magnificat’s championship of Philippe Rogier continues
View record and artist detailsRecord and Artist Details
Composer or Director: Jacobus Clemens Non Papa, Antonio de Cabezón, Philippe Rogier
Genre:
Vocal
Label: Linn Records
Magazine Review Date: 02/2012
Media Format: Hybrid SACD
Media Runtime: 74
Mastering:
Stereo
DDD
Catalogue Number: CKD387
![](https://reviews.azureedge.net/gramophone/gramophone-review-general-image.jpg)
Tracks:
Composition | Artist Credit |
---|---|
Motet: Inclita stirps Jesse |
Jacobus Clemens Non Papa, Composer
His Majestys Sagbutts and Cornetts Jacobus Clemens Non Papa, Composer Magnificat Philip Cave, Conductor |
Missa Inclita stirps Jesse |
Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts Magnificat Philip Cave, Conductor Philippe Rogier, Composer |
Cancion Francesca Glosada |
Antonio de Cabezón, Composer
Antonio de Cabezón, Composer His Majestys Sagbutts and Cornetts Magnificat Philip Cave, Conductor |
Missa Philippus secundus |
Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts Magnificat Philip Cave, Conductor Philippe Rogier, Composer |
(Da) Pacem Domine A6 |
Philippe Rogier, Composer
His Majestys Sagbutts and Cornetts Magnificat Philip Cave, Conductor Philippe Rogier, Composer |
Ave maris stella |
Antonio de Cabezón, Composer
Antonio de Cabezón, Composer His Majestys Sagbutts and Cornetts Magnificat Philip Cave, Conductor |
Author: Fabrice Fitch
Rogier’s choice of models for the Masses recorded here is evocative in itself, the one a fine motet by Clemens non Papa, the second a tune derived from the syllables of the name of Rogier’s royal patron and namesake, Philip II of Spain. There are audible nods here especially to the work that got this tradition started, the Hercules Dux Ferrariae Mass of Josquin, and the sense of celebratory opulence is enhanced by His Majestys Sagbutts and Cornetts and a continuo section that includes dulcian, harp and organ. The Mass Inclita stirps Jesse, meanwhile, is done a cappella, with female altos on the top line (difficult to mistake Caroline Trevor’s distinctive tone). It’s an impressive piece in a sound reading, though the tempi can seem a touch slow, with consequences for the sense of forward motion: in the second part of Clemens’s motet, the pulse audibly slows, and in the Benedictus of the Mass, so does the pitch. That said, the accompanying pieces, dispatched by the instrumentalists add a further dimension to a fine recital.
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