Obrecht: Missa Maria Zart

Obrecht: Missa Maria Zart

Obrecht: Missa Maria Zart
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CD Details

Edition: Music CD
Format: Import
CD Release Date: 2001-11-13
Music Label: Gimell UK
Soundtracks:
  1. Missa Maria Zart: Kyrie
  2. Missa Maria Zart: Gloria
  3. Missa Maria Zart: Credo
  4. Missa Maria Zart: Sanctus & Benedictus
  5. Missa Maria Zart: Agnus Dei I, II & III

Music reviews of Obrecht: Missa Maria Zart

Music Review: A landmark recording of the sphinx amongst Obrecht's masses
Rating: 4 Stars

There is little doubt that this recording of the longest Renaissance polyphonic mass is a landmark event of great importance. There is definitely a case to be made for Obrecht as the major figure of the Prima Prattica, with his relationship to Josquin being similar to that between Telemann and Bach. Just as Telemann's reputation completely overshadowed that of Bach's, Josquin's reputation too totally ecclipsed that of Obrecht's - only with Telemann and Bach prosterity has fully overturned the judgement. Perhaps now after five centuries prosperity will bestow a similar favour on Obrecht, who faded into total obscurity after his tragic premature demise on one of his rare excursions out of his Flemish homeland that took him through Innsbruck where he wrote the 'Missa Maria Zart' and onwards into Ferrara. There in Ferrara Obrecht got his break with a dream job working for a true patron of the arts after decades of working under harsh conditions with mediocre pay, only to have his dreams shattered as he was dismissed within months on the death of his employer. Soon after Obrecht tragically succumbed at to the plague - doubtless ministering to plague victims as a priest to sustain an income. Rob Wegman's excellent book on Obrecht is highly recommendable, as both eloquent advocacy and moving bibliography, on behalf of this sorely neglected genius.

The Missa Maria Zart is described by Rob Wegman as the sphinx amongst Obrecht's masses. The work is an oddity amongst this composer's mature outputs which are usually far more strongly directional, whereas here Obrecht spins out endless passages of two or three part writing that just to go on and on without a clear goal. In Wegman's words "There is no sense of development, no musical progress: the spinning is the process."

Needless to say this can make very extremely difficult and perplexing listening. So strange is this work that some writers have suggested there is some cryptic agenda to explain the composition.

The Tallis Scholars can always be depended on to present Renaissance polyphony with its typical Oxbridge sound of brilliant clarity and transparency. Often this can produce highly memorable interpretations. On the other, in this instance, this can even be a barrier to the fullest advocacy on behalf of Obrecht. Most continental reviewers (especially the French) complain bitterly that their Oxbridge approach sacrifices content for form. Christophe Huss - just to give one example - described their sound (...) as a 'perfection glacée' (icy perfection). Their relentless pursuit of a polished sound of perfect textural clarity and intonation can make it even harder for the listener to fully engage in an already difficult work such as the Missa Maria Zart - difficult that is for the listener, as much as for the performer. There is no doubt that their performance has many wonderful things and with time this will become a treasured recording.

While this is definitely an essential CD for those with an interest in Obrecht, anyone who wants to hear Obrecht advocated by performers who can communicate their genuinely hearfelt interest in his music should head straight to the recordings by Janos Bali and the ANS Chorus on Hungaraton. Essentially, they choose works that are much more representative of Obrecht and if you want to see why Wegman argues for him being the outstanding composer of this age then you are far better listening to representative works of his maturity like Missa Si Dedero, Alma Redemptoris Mater, or the Missa Malheur Me Bat rather than starting with the Missa Maria Zart. The ANS Chorus have elsewhere recieved glowing reviews such as on Goldberg early music magazine, but also notably by the highly particular Todd McComb of Medieval.org who - unusually for him - gives them a very enthusiastic recommendation. They have a characteristically European sound, similar to the Huelgas Ensemble though perhaps just a hint more English. The way they phrase Obrecht's lines is particular beautiful and the warm of the sound that they bath the listener in comes as a huge relief - it makes falling in love with Obrecht a pleasure rather than an effort. The recorded sound is also a little more atmospheric than the starkly analytical sound typical of the Gimell recordings of the Tallis Scholars (microphones slightly more recessed to capture the ambience of the acoustic). However for those who want to challenge the sphynx and hear this crytic work, until the ANS Chorus record the Missa Maria Zart, the Tallis Scholars will remain the obvious first choice.
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