Palestrina: Masses (Box Set)

Pro Cantione Antiqua - Palestrina: Masses (Box Set)

Palestrina: Masses (Box Set)
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CD Details

Artist: Pro Cantione Antiqua
Edition: Music CD
Format: Box set
CD Release Date: 2001-11-13
Music Label: Brilliant Classics
Soundtracks:
Music CD 1
  1. Ecce venit Dominator Dominus, introitus
  2. Missa L'homme arm�©, for 5 voices: Kyrie
  3. Missa L'homme armé, for 5 voices: Gloria
  4. Omnes de Saba venient, gradual
  5. Missa L'homme armé, for 5 voices: Credo
  6. Reges Tharsis, offertory
  7. Missa L'homme armé, for 5 voices: Sanctus & Benedictus
  8. Vidimus stellam, communio
  9. Missa L'homme armé, for 5 voices: Agnus Dei
  10. Gaudeamus omnes, introit
  11. Missa Assumpta est Maria, for 6 voices: Kyrie
  12. Missa Assumpta est Maria, for 6 voices: Gloria
  13. Propter Veritatem, gradual
  14. Missa Assumpta est Maria, for 6 voices: Credo
  15. Assumpta est Maria, offertorium
  16. Missa Assumpta est Maria, for 6 voices: Sanctus & Benedictus
  17. Optimum partem, communio
  18. Missa Assumpta est Maria, for 6 voices: Agnus Dei
Music CD 2
  1. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Feria V in Coena Domini. Lectio 1
  2. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Feria V in Coena Domini. Lectio 2
  3. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Feria V in Coena Domini. Lectio 3
  4. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Feria VI in Parasceve
  5. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Feria VI in Parasceve
  6. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Feria VI in Parasceve
  7. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Sabbato Sancto. Lectio 1
  8. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Sabbato Sancto. Lectio 2
  9. Lamentationum Hieremiae Prophetae for 5 & 6 voices: Sabbato Sancto. Lectio 3
Music CD 3
  1. Puer natus est nobis, introit
  2. Missa Brevis, for 4 voices: Kyrie
  3. Missa Brevis, for 4 voices: Gloria
  4. Viderunt omnes, gradual in mode 5 (Liber Usualis, No. 409; GR. 33)
  5. Missa Brevis, for 4 voices: Credo
  6. Tui sunt caeli, offertorium
  7. Missa Brevis, for 4 voices: Sanctus
  8. Missa Brevis, for 4 voices: Benedictus
  9. Viderunt Omnes, communion in mode 1 (Liber Usualis, No. 410, GR. 35)
  10. Missa Brevis, for 4 voices: Agnus Dei
  11. Cibavit eos, introit
  12. Missa Laude Sion, for 4 voices: Kyrie
  13. Missa Laude Sion, for 4 voices: Gloria
  14. Occuli omnium, gradual in mode 7
  15. Missa Laude Sion, for 4 voices: Credo
  16. Sacerdotes Domini, offertory
  17. Missa Laude Sion, for 4 voices: Sanctus
  18. Missa Laude Sion, for 4 voices: Benedictus
  19. Quotiescumque manducabitis panem hunc
  20. Missa Laude Sion, for 4 voices: Agnus Dei
  21. Super flumina Babylonis, motet for 4 voices (from Motets Book II for 4 voices)
  22. Sicut cervus, motet for 4 voices (from Motets Book II for 4 voices)
Music CD 4
  1. Aeterna Christi Munera, hymn in mode 1
  2. Mihi autem, introit
  3. Missa Aeterna Christi munera, for 4 voices: Kyrie
  4. Missa Aeterna Christi munera, for 4 voices: Gloria
  5. Constitues eos, graduale
  6. Missa Aeterna Christi munera, for 4 voices: Credo
  7. Mihi autem, offertory
  8. Missa Aeterna Christi munera, for 4 voices: Sanctus
  9. Missa Aeterna Christi munera, for 4 voices: Benedictus
  10. Venite post me, communion in mode 8 (Liber Usualis No. 1306; Graduale Romanum No. 395)
  11. Missa Aeterna Christi munera, for 4 voices: Agnus Dei
  12. In virtute tua, introit
  13. Missa L'homme arm�©, for 4 voices (from Masses Book IV): Kyrie
  14. Missa L'homme armé, for 4 voices (from Masses Book IV): Gloria
  15. Beatus vir, gradual in mode 5
  16. Missa L'homme armé, for 4 voices (from Masses Book IV): Credo
  17. Gloria et honore, offertory
  18. Missa L'homme armé, for 4 voices (from Masses Book IV): Sanctus
  19. Missa L'homme armé, for 4 voices (from Masses Book IV): Benedictus
  20. Qui Vult Venire Post Me (Communio)
  21. Missa L'homme armé, for 4 voices (from Masses Book IV): Agnus Dei
Music CD 5
  1. Gaudeamus omnes, introit
  2. Missa Papae Marcelli, for 6 voices: Kyrie
  3. Missa Papae Marcelli, for 6 voices: Gloria
  4. Propter Veritatem, gradual
  5. Missa Papae Marcelli, for 6 voices: Credo
  6. Assumpta est Maria, offertorium
  7. Missa Papae Marcelli, for 6 voices: Sanctus
  8. Missa Papae Marcelli, for 6 voices: Benedictus
  9. Missa Papae Marcelli, for 6 voices: Agnus Dei I
  10. Missa Papae Marcelli, for 6 voices: Agnus Dei II
  11. Optimum partem, communio
  12. Stabat mater, motet for 8 voices

Music reviews of Palestrina: Masses (Box Set)

Music Review: Pure Natural Musical Expression
Rating: 5 Stars

Palestrina is a composer who lives on in the minds of the general music-loving public, primarily through church services and community choral concerts, and of course, recordings by premiere touring star vocal ensembles. Usually, when we hear something of this composer live, it's as part of a larger mixed program, along with many other composers who wrote for this kind of setting.

So sometimes, poor Palestrina gets a bit lost in the mix, as one more Renaissance composer who specialized in vocal counterpoint, and wrote some lovely music for a Sunday afternoon service. That's easy to have happen, since that particular era was rife with brilliant choral music to go with such an occassion, and by so many great masters (Byrd, Lassus, Tallis, etc.). So what makes this guy so special within that kind of company?

To answer this, I would first paraphrase a writer I once came across (the name of whom, sadly, I cannot remember) who seemed to really put his finger on what Palestrina's style of vocal writing was about. He said, in effect: This particular composer was really reviving a form of sacred vocal music that was already quite old when he came along. That music was Gregorian Chant. While his brilliant and innovative contemporaries were composing vocal works of great harmonic and rhythmic complexity, and embracing so many of the colorful compositional techniques of the newer secular/instrumental movements going on at the time, Palestrina kept to a more singular type of vision. He took the basic style of Gregorian chant in all its simplicity of expression, and economy of means, and found a way to 'polyphonize' it without disturbing those very elements that made it work so well as a form of "unison" singing for so many centuries.

After I read this very interesting and seemingly insightful commentary, I pulled out my copy of the Pro Cantione Antiqua singing Palestrina's "Missa Aeterna Christa Numera", and gave it another listen. From the the opening lines of the Kyrie, I immediately got the same impression that the writer was trying to convey, and that was of a kind of unfettered purity, simplicity, and emotional directness that is unique to Gregorian Chant. In fact, the whole thing sounded to me like several monks starting their chants at different times, and singing in different registers, and making the whole thing sound almost IMPROVISED! Some of the more angular archaic church modes are done away with here, and the melodic and harmonic movement has a much more 'contemporary' ring to it, right down to the IV-V-I cadences, and liberal use of major 3rds, but the overall sense and 'flavour' of early European chant is completely intact, and comes through with real authenticity in these wonderful performances.

That improvisational sense I spoke of informs the sounds heard on this recording, and definitely gives me the feeling of a music so direct and 'unstylized', that I would almost hesitate to even catigorize it as a "Classical Album". It belongs with the chants and liturgical musics that predate any contemporary notions of style, and as such, could take its place beside any beautifully sung devotional music from any place or time.
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