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Senfl: Missa Paschalis, Etc / Lawrence-King, Watson, MacDonald, Et Al


Release Date: 04/28/2009 
Label:  Obsidian Records   Catalog #: 704   Spars Code: n/a 
Composer:  Ludwig Senfl
Performer:  Christopher WatsonAndrew Lawrence-KingRobert [Bass Voice] MacDonald
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet EnsembleCambridge Sidney Sussex College Choir
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 7 Mins. 

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Notes and Editorial Reviews



SENFL Missa Paschalis. Mein Herz in hohen Freuden steht: So ich sie dann. Carmina: in re; in la. Im Maien. Ach Elslein. Ich stuend. Wohl auf. Ave Maria. Was wird. So lang man macht. Fortuna ad voces musicales & David Skinner, dir; Andrew Lawrence-king (hp); Sidney Sussex College, Cambridge Ch; QuintEssential OBSIDIAN 704 (66:51 Text and Translation)


Read more class="EXTRAS12">& FESTA (arr. Senfl) Quis dabit oculis


The last review of a Mass by Ludwig Senfl (c. 1490–1543) was in 28:4, and the last one of this Missa Paschalis was in 26:5. It is one of the few masses by Senfl that has been recorded more than once, following Noah Greenberg and Diego Fasolis as cited. ( Missa Nisi Dominus has been recorded twice, but neither disc has come this way.) Fasolis gave us an unaccompanied alternative to the instrument-laden version by New York Pro Musica, which was typical of the 1960s, so it is interesting to hear David Skinner revert to the use of instruments in the latest version. Since the Greenberg version is long gone (it never appeared on CD), we can again compare both approaches in modern sound. If I prefer the a cappella approach on principle, this is still an admirable interpretation of the music. In the notes this is the first time a point has been made of the contrast between the Kyrie-Gloria pair of movements and the Sanctus-Agnus Dei pair, the former based on cantus firmi of the Easter Mass, the latter of the Advent-Lent Mass. Hence the two pairs of movements are placed separately in the program.


The only other sacred works heard here, both familiar from previous recordings, are Senfl’s expansion from four to six voices of the familiar Ave Maria by Josquin des Prez and his arrangement of Costanzo Festa’s Quis dabit oculis . The latter motet was written for the death of Anne of Britanny, but it says here that Senfl edited the text in 1519 to fit the death of Maximilian I, whom he had served since the age of 10. (In 10:4, the first occurrence of a Senfl review here, I observed that, though the piece is usually credited on disc to Senfl, it properly belongs to Festa and there is no proof that Senfl adapted the text to Maximilian, as the 1538 print edition claims.) Charles V dismissed the imperial cappella when he succeeded Maximilian, putting Senfl out of a job as maestro, so he spent the rest of his life at the court of Bavaria. Both motets are beautifully sung a cappella.


The rest of the program consists of secular vocal and instrumental works. Most of them are familiar on recent discs from Manfred Cordes (23:4) and Fretwork (28:4), but it should be noted that Fretwork has Charles Daniels singing two of Skinner’s instrumental pieces. The unfamiliar pieces are “So ich sie dann,” Wohl auf , and So lang man macht . Of these, only the first was once available on LP. Hence, unlike most Senfl programs that focus on sacred or secular music, this is a balanced survey of all his forms, with enough first recordings to make it essential to Senfl devotees. The notes hint at some new insights that will appear in the forthcoming biography of Senfl by Kathleen Berg. As noted under Josquin des Prez, this new Obsidian series is elegantly recorded and packaged.


FANFARE: J. F. Weber
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Works on This Recording

1. Missa paschalis: Kyrie by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
2. Missa paschalis: Gloria by Ludwig Senfl
Performer:  Andrew Lawrence-King (Gothic Harp), Christopher Watson (Tenor), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
3. Mein Herz in hohen Freuden steht: no 2, So ich sie dann freundlich grüess by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 1534; Germany 
Notes: : David Skinner. 
4. Carmen in re by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
5. Im Maien by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
6. Missa paschalis: Sanctus by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
7. Missa paschalis: Agnus Dei by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
8. Ach Elslein, liebes Elselein by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
9. Ich stuend an einem Morgen by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: by 1534; Germany 
Notes: : David Skinner. 
10. Wohl auf, wohl auf, an Bodensee by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 1534; Germany 
Notes: : David Skinner. 
11. Ave Maria by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century 
Notes: : David Skinner. 
12. Was wird es doch des Wunders noch by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: by 1534; Germany 
Notes: : David Skinner. 
13. Carmen in la by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
14. So lang man macht by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Notes: : David Skinner. 
15. Fortuna ad voces musicales by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 1534; Germany 
Notes: : David Skinner. 
16. Quis dabit oculis by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 
Notes: : David Skinner. 
17. Missa paschalis by Ludwig Senfl
Performer:  Christopher Watson (Tenor), Andrew Lawrence-King (Gothic Harp), Robert [Bass Voice] MacDonald (Bass)
Orchestra/Ensemble:  QuintEssential Sackbut and Cornet Ensemble,  Cambridge Sidney Sussex College Choir
Period: Renaissance 
Written: 16th Century; Germany 

Sound Samples

Missa paschalis: Kyrie
Missa paschalis: Gloria
Mein Herz in hohen Freuden steht: No. 2. So ich sie dann freundlich gruess
Carmen in Re
Im Maien
Missa paschalis: Sanctus
Missa paschalis: Agnus Dei
Ach Elslein, liebes Elselein
Ich stuend an einem Morgen (3 voices): Ich stuend an einem Morgen
Wohl auf, wohl auf, an Bodensee
Ave Maria gratia plena
Was wird es doch des Wunders noch
Carmen in la
So lang man macht
Fortuna ad voces musicales a 4
Quis dabit oculis (arr. L. Senfl)

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