Cinquecento - Vaet: Missa Ego flos campi
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Artist: CinquecentoComposer: Vaet
Conductor: none
Performer: Cinquencento
Edition: Music CD
Audio: English (Unknown)
Format: Import
CD Release Date: 2009-03-10
Music Label: Hyperion
Soundtracks:
- Antevenis virides, motet for 6 voices ('In laudem Illustrissimi Principis Albertis Bavariae Ducis')
- Missa Ego flos campi, for 6-8 voices: Kyrie
- Missa Ego flos campi, for 6-8 voices: Gloria
- Missa Ego flos campi, for 6-8 voices: Credo
- Missa Ego flos campi, for 6-8 voices: Sanctus and Benedictus
- Missa Ego flos campi, for 6-8 voices: Agnus Dei, 8vv
- Ecce apparebit Dominus, for 5 voices
- Magnificat octavi toni, for 4 or 5 voices
- Miserere mei, Deus, for 5 voices
- Filiae Jerusalem, for 5 voices
- Spiritus Domini, motet for 6 voices
- Musica Dei donum, for 5 voices
- Salve regina, motet for 6 voices
- Ego Flos Campi for 7 voices
Music reviews of Vaet: Missa Ego flos campi
Music Review: "Undoubtedly"
Rating: 5 Stars
The notes to this CD assert that "Jacobus Vaet would undoubtedly be among the best-known composers of the sixteenth century had he not died at the age of about thirty-seven." Now, that's a bold hyperbole, and one that I `took with a grain of salt' -- more like a whole tablespoon of salt! -- until I listened to the first track on this recording, Vaet's six-voice motet Antevenis Virides. Now I need to revise that hyperbole ... upwards! Vaet was undoubtedly among the BEST composers of the sixteenth century, known or unknown! This CD makes the case that Vaet's early death, after a career of just fifteen years, was a tragedy for Music equal to the premature deaths of Pergolesi, Mozart, and Schubert.
Since Vaet is so little-known, I've condensed some info from the article about him on wikipedia: Jacobus Vaet's first appearance in the historical record is from Kortrijk, where he was admitted in 1543, at age 13, as a singer to the church of Onze Lieve. In 1547 he was enrolled at the University of Leuven, and by 1550 he was in the court of Charles V, where he was listed as tenor in the chapel choir. He became Kapellmeister to Maximilian II in 1554, and held that post for the rest of his lamentably short life. Evidently Maximilian was fond of his Kapellmeister, and mourned him both in his diary, and by having elegies written for him by other prominent composers in his circle.
Vaet's influences included Nicolas Gombert, his friend Clemens non Papa, and Orlande de Lassus, whose style he often imitated. Vaet used cross-relations to a degree rare at the time; sometimes they are even simultaneous, resulting in dissonant clashes. Vaet also sometimes ended compositions on minor triads; ending on a minor chord was a relative rarity before the late 16th century. Another peculiarity of his style was a liking for progressions based on the circle of fifths, as well as dominant-tonic cadences, both features which foreshadow the changes in music which were to come at the end of the century. His use of circle-of-fifths progressions may be an influence from Lassus; it is also a feature of Spanish polyphony of the period, and as a member of the chapel of Charles V, and later Maximilian II, he may have been familiar with the music of Spaniards such as Guerrero, who wrote in a similar idiom and also worked for Maximilian.
Even more unusual than his pungent cross-relations was his liking for quotation and parody. He was the first to write a Missa quodlibetica, a five-voice mass which was a series of quodlibets--simultaneous presentations of several familiar tunes, from both sacred and secular sources. Vaet wrote nine complete masses which have survived, including a setting of the Requiem. His surviving motets are both sacred and secular, and he also wrote eight settings each of the Magnificat and the Marian antiphon Salve Regina.
"Cinquecento" has selected eight of Vaet's motets to accompany his Mass Ego Flos Campi, plus the 7-voice Ego Flos Campi by Jacob Clemens which provided the cantus firmus for Vaet's mass. There's an astonishing variety of affect in these motets, and an effervescence of musical ideas. The piquant dissonances and quick shifts of rhythm certainly distinguish Vaet from the orthodox polyphonists of his generation, and make his music more intriguing. His style really is quite comparable to that of Francisco Guerrero's Latin motets, yet Vaet manages to sound more modern ... if you suppose, as I do, that `modern' means anything after 1600.
Cinquecento is an all-male vocal ensemble based in Austria but including singers from Germany, Netherlands, and Britain. They're among the best, as you'll hear on any of the recordings of Willaert, de Monte, Regnart, or `Music for the Court of Maximilian II'. The performance of this repertoire is all about independence of phrasing -- linear, rhetorical, sentence-like -- and of course about polished ensemble techniques: attacks and releases, expressive attention to dissonances and consonances, `transparency' achieved through the independent dynamics of each line, and balance of timbres such that the highest voices don't overshadow the inner and lower voices. Those are the skills that make Cinquecento excellent.
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