Morales had published his Mass, based on Jean Mouton's motet, in Rome in 1544, just before he returned to Spain to direct the music at Toledo (briefly). After his death, eight of his Masses were copied for the cathedral choir. The recording was sung from this manuscript version of the Mass rather than the printed edition. Motets by younger contemporaries of Morales are also sung here from the Toledo choir books. But the principal reason for dating the reconstruction to 1580 is the use of chant Propers sung from the Missal of Palencia in 1568, conforming to the reforms of the Council of Trent. The Missal of Pope Pius V that was published in 1570 was adopted in Toledo in 1576.
Typical of Spanish practice, the polyphony is accompanied by an instrumental ensemble, as Cheetham and others have done previously. The precise distribution of instruments is speculative at best, but Cheetham's reconstruction is based on the information that survives. This interpretation provides the sharpest contrast to a Morales Mass sung unaccompanied by the Tallis Scholars and recently issued on Gimell, all the more notable because both ensembles are English. JEROME F. WEBER
ASSUMPTION MASS
CRISTOBAL DE MORALES, RODRIGO DE CEBALLOS, FRANCISCO GUERRERO, ANTONIO DE CABEZON, VARIOS
Richard Cheetham, Michael Noone
Orchesta of the Renaissance
Glossa GCD 921404
1999 - 76:05 min.
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