Pilgrimage to Santiago

Pilgrimage to Santiago

Pilgrimage to Santiago
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Composer: Codex Calixtinus Anonymous
Composer: Llibre Vermell de Montserrat Anonymous
Composer: Cristobal de Morales
Composer: Giovanni Pierluigi da Palestrina
Composer: Guillaume Dufay
Composer: Tomas Luis de Victoria
Composer: Jean Mouton
Composer: Jacobus Clemens Non Papa
Composer: Orlande de Lassus
Conductor: John Eliot Gardiner
Performer: Elin Manahan Thomas
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 2006-11-14
Music Label: Soli Deo Gloria
Soundtracks:
  1. Dum Pater Familias
  2. Congaudeant Catholici
  3. O Virgo Splendens
  4. Parce Mihi Domine
  5. Alma Perpetui
  6. Jesu Rex Admirabilis
  7. Rite Majorem
  8. O Quam Gloriosum/Missa O Quam Gloriosum
  9. Kyrie
  10. Psallat Chorus Caelestium
  11. Gloria
  12. O Lux Et Decus Hispaniae
  13. Sanctus
  14. Benedictus
  15. O Venerande Christi
  16. Agnus Dei
  17. Nesciens Mater
  18. O Maria Vernans Rosa
  19. Vadam Et Circuibo
  20. Justorum Animae
  21. Sanctus

Music reviews of Pilgrimage to Santiago

Music Review: More Gardiner than Renaissance, but nonetheless undeniably vivid...
Rating: 5 Stars

In his first non-Bach recording for the Monteverdi Choir's own 'Soli deo gloria' label, John Eliot Gardiner presents a sublime programme of works from the 12th-16th centuries inspired by the renowned Santiago pilgrim route. If the CD does not quite surpass the Monteverdi Choir's 2005 recording of similar music (Santiago A Cappella, Universal/Emarcy 0028947630104), it is still by any account a magnificent achievement. The performances exhibit both impeccable ensemble and near-faultless intonation, and are beautifully encaptured within a warm acoustic. In addition, Gardiner frequently exploits a slow 'tactus' to great effect, resulting in readings which are spiritually charged and spacious (perhaps most obviously in Morales' ubiquitous 'Parce mihi Domine', Mouton's 'Nesciens mater' and Clemens 'O Maria vernans rosa').

If there can be any criticism of the disc, it is that, at times, the towering force of Gardiner's musical personality is perhaps a little too dominant. In his defence, Gardiner makes no pretence that this is anything but a highly idiosyncratic account, a fact which is obvious both in the performances themselves and in the CD's presentation (note the cover and the booklet, which features personal reflections from himself [pp.1-2] and members of the choir [pp.34-5]). One could argue, however, that the music recorded here is good enough in itself without the need for such "dressing". A number of the interpretations, for example, rely on a rhetorical approach to dynamics and tempo which is arguably more appropriate to late 16th/early 17th century secular music than 'prima prattica' (and earlier) sacred music, and whilst this musicological liberty is often effective, sometimes it is not. The declamatory 'forte' outbursts in Dufay's 'Rite majorem' are indicative of such an over-emphasis on text; similarly, the slightly jerky tempo in Victoria's motet 'O quam gloriosum' sounds rather mannered in places, and seems to contradict what is known about tempo in Renaissance music (see below *1). Also, regarding the medieval pieces, it is worth pointing out that 'Congaudeant catholici' was almost certainly a 2-voice conductus-motet, not the 3-part piece which is presented here (see below *2). Finally, the choice of forces (see below *3) and some occasional mannerisms (such as the clipped 'Hosanna' in the Sanctus and Benedictus of Victoria's Mass) clearly betray the mixed-voice Cambridge choral tradition of Rutter, Marlow and Brown (n.b. Gardiner himself studied there, of course). Incidentally, why is the Credo from Victoria's Mass silently omitted...?!

If the overall result, then, is really more a of personal invitation to Gardiner's insight than an attempt to give an accurate representation of the selected works, this does not detract from the profound and ethereal experience which is created upon listening to this marvellous release. Highly recommended.


*1 - It would be dangerous to interpret sources too literally, but it surely significant that contemporary theorists almost consistently relate the tactus to mediums with a regular factor, most commonly the heartbeat (e.g. Ramis de Pareia [1482], Adam of Fulda [1490], etc...), but also breathing (Gaffurius, 1496), walking (Buchner c.1520), etc.
*2 - The "3rd" part is a noticeably later addition to the manuscript (Codex Calixtinus), lacking its own staff and lying in between the 2 outer voices; it was probably intended as an alternative second voice rather than a true third part.
*3 - Performance of Iberian polyphony with instruments - rather than 'a cappella' (as here) - is well documented, and Santiago Cathedral itself boasted 4 salaried ministriles from 1539. In Rome too, where Victoria's Mass was published (1583), instrumental participation seems to have been commonplace.
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