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Josquin: Missa Mater Patris; Agricola / Chanticleer


Release Date: 11/17/2009 
Label:  Chanticleer Records   Catalog #: 8808   Spars Code: DDD 
Composer:  Josquin Des PrézAlexander AgricolaAntoine Brumel
Orchestra/Ensemble:  Chanticleer
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 59 Mins. 

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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

Wonderfully fresh and expressive, communicating excitement in every phrase.

The Mater Pains Mass is one of the very strangest works from the years around 1500. Based on a (pretty strange) little motet by Brumel, it is scored without a high voice-range and has an absolute minimum of what we would call pure counterpoint. Particularly in the Credo and Sanctus there are large sections where the top three voices just dance around in parallel 614 triads, with the basses filling in either the root or the third of the chord. One result is that the work has a far higher proportion of first-inversion chords than most sixteenth-century music: so (and this is the point of my jargon) the sound is bizarrely improbable.
Read more /> Many scholars over the years have doubted whether this could really be by Josquin (and Jeremy Noble's wonderful insert-note makes it clear enough that he is not at all happy with it); that may explain why the work seems not to have been recorded before. I suppose my own view is that the designs and tension-patterns are very much Josquin's; that there is no other composer of the time who seems more likely to have composed it (any hints of Brumel surely go back to the model); that there are some characteristically ingenious technical devices, particularly the three two-voice canons towards the end and the magically expansive last Agnus Dei; that this kind of experiment is the sort of thing that needs Josquin's courage. Certainly hearing it (at last) is to glimpse an extraordinary fertility of imagination. Moreover, it is good to hear the work alongside motets by another composer of the same generation, Agricola. As it happens, the singers of the San Francisco ensemble Chanticleer are not so much at home in his music: much of it runs too wild and fast, and only the 0 crux ave sounds really lucid.

But they are excellent in the Josquin and the Brumel motet on which it is based. Some listeners may well find their sound a touch rough: these are not rounded Oxbridge voices, and they do occasionally lack control. Nevertheless, they are wonderfully fresh and expressive; and in the Josquin they communicate excitement in every phrase.

-- Gramophone [7/1994]
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Works on This Recording

1.
Missa "Mater Patris" by Josquin Des Préz
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Venue:  Bochum-Stiepel, Bochum, Germany 
Language: Latin 
2.
Magnificat by Alexander Agricola
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Written: 15th Century 
Venue:  St. Osday Church, Mandelsloh, Germany 
Language: Latin 
3.
Nobis Sancte Spiritus by Alexander Agricola
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Written: 15th Century; Lowlands 
Venue:  St. Osday Church, Mandelsloh, Germany 
Language: Latin 
4.
O crux ave by Alexander Agricola
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Venue:  St. Osday Church, Mandelsloh, Germany 
Language: Latin 
5.
Regina coeli by Alexander Agricola
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Venue:  St. Osday Church, Mandelsloh, Germany 
Language: Latin 
6.
Mater patris et filia by Antoine Brumel
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Written: 15th Century 
Language: Latin 
7.
Domine, non secundum peccata by Josquin Des Préz
Orchestra/Ensemble:  Chanticleer
Period: Renaissance 
Venue:  Bochum-Stiepel, Bochum, Germany 
Language: Latin 

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