Composer: Antione Brumel, Josquin des Prés, Noel Bauldeweyn
Performer: The Tallis Scholars
Conductor: Peter Phillips
Format: FLAC (tracks)
Label: Gimell
Release: 2019
Size: 3.02 GB
Recovery: +3%
Scan: yes
Antione Brumel:
Mater Patris
01. 1. Mater Patris et filia
02. 2. Audi nostra suspiria
03. 3. Bone Jesu, Fili Dei
04. 4. Et precibus nostris
Josquin des Prés:
Missa Mater Patris
05. 1a. Kyrie I
06. 1b. Christe
07. 1c. Kyrie II
08. 2a. Gloria in excelsis Deo
09. 2b. Qui tollis peccata mundi, miserere
10. 2c. Cum Sancto Spiritu
11. 3a. Credo in unum Deum
12. 3b. Crucifixus
13. 3c. Et in Spiritum Sanctum
14. 4a. Sanctus
15. 4b. Pleni sunt caeli
16. 4c. Hosanna I
17. 4d. Benedictus
18. 4e. Hosanna II
19. 5a. Agnus Dei I
20. 5b. Agnus Dei II
21. 5c. Agnus Dei III
22. Da pacem, Domine
Noel Bauldeweyn:
Missa Da pacem
23. 1a. Kyrie I
24. 1b. Christe
25. 1c. Kyrie II
26. 2a. Gloria in excelsis Deo
27. 2b. Qui tollis peccata mundi, miserere
28. 3a. Credo in unum Deum
29. 3b. Et incarnatus est
30. 3c. Crucifixus
31. 3d. Et resurrexit tertia die
32. 3e. Et iterum venturus est
33. 4a. Sanctus
34. 4b. Pleni sunt caeli
35. 4c. Hosanna I
36. 4d. Benedictus
37. 4e. Hosanna II
38. 5a. Agnus Dei I
39. 5b. Agnus Dei II
40. 5c. Agnus Dei III
The graphics for this Tallis Scholars release mention scholarly disagreement over the Missa Mater Patris, long attributed to Josquin but “recently shown to be by the little-known Noel Bauldeweyn,” writes director Peter Phillips. “Or is it?” he adds. He sketches out the controversy, pointing out that the mass does not resemble any of Josquin’s other compositions in the genre; he doesn’t answer his question. However, you might take the album as a rejoinder to those questioning the authenticity of the mass. Its possible removal from the Josquin canon rests entirely on this musical evidence, so Phillips is entitled to adduce musical evidence of his own: the genuine Bauldeweyn mass included here sounds nothing like Josquin but is basically a work in 15th century style with a bit of imitative counterpoint thrown in. The Missa Mater Patris is a spectacular work, whoever wrote it. It does include long homophonic passages that were uncharacteristic of Josquin’s time and the rest of his output (although apparently not very characteristic of Bauldeweyn, either). Thus, Josquin inflects his borrowed material, a motet by Brumel, in the directions of both simplicity and, at the end, the usual complexity. Without taking an explicit position, Phillips admits that some parts of the Bauldeweyn Missa da Pacem are pretty dull, and he speculates that the parts that aren’t might have been written by Josquin. The Missa Mater Patris is at its most Josquin-typical in the Incarnatus and Crucifixus, which introduce a new tonal realm in a way that probably no other Renaissance composer was capable of. Whatever your ideas when it comes to the do-it-yourself musicology, the reading by the always strong Tallis Scholars is especially sensitive here, and Gimell’s sound from the Chapel at Merton College is superb. Highly recommended, both simply for its pleasures and as a way to introduce the kinds of issues scholars of Renaissance music think about.