Allegri's Miserere & Palestrina's Missa Papae Marcelli

--Palestrina's Missa Papae Marcelli-
Written at least a generation prior to Allegri's Miserere, Palestrina's Mass for Pope Marcellus II is likewise a composition in search of the absolute and absolving God. Reacting to an overly ornate liturgy of the Roman Catholic church in the face of popular and growing Reformation types, Palestrina became a great champion for music that preserved both the grandeur of the liturgy as well as the accessibility of the message and language for the people. The lower vocals make the Mass a part of the people, rather than existing on high, inaccessible.

--William Mundy's Vox Patris caelestis-
Mundy's work is roughly contemporary with that of Palestrina (mid to late 1500s). The Vox Patris caelestis (the voice of the heavenly Father) is a decidedly Catholic English composition, which places it during the reign of Mary. Mundy was in many ways opposite from Palestrina - clarity of words and simplicity of music were secondary concerns, if concerns at all.

All of these pieces are glorious polyphonic compositions of extraordinary power and grace. Taken as a set, they make a wonderful snapshot of Roman Catholic/high Anglican sensibility from the time of religious upheaval due to the Reformation.

--The Tallis Scholars-
The Tallis Scholars are a group dedicated to the performance and preservation of the best of this type of music. A choral group of exceptional ability, I have been privileged to see them many times in public, and at almost every performance, the Miserere by Allegri is expected and delivered with near-flawless grace. Directed by Peter Phillips, the group consists of a small number of male and female singers who have trained themselves well to their task.

This recording deserves more than five stars; it deserves a place on the shelf of anyone who loves choral music, liturgical music or Gregorian chant, classical music generally, or religious music. When listening, fair warning: prepare to be moved.

Allegri's "Miserere" is very well known in some excellent versions,featuring astonishingly poised boy trebles soaring effortlessly up to those goose-bump inducing high Cs.However,the version on this CD,is something quite apart and special from the norm,as it is a girl (the ethereal Alison Stamp) who takes and basks in the solo limelight.Also,the director of the Tallis Scholars,Peter Phillips,had the brilliant notion of seperating out the choir into two parts,and placing them at opposite ends of the recording venue of Merton College Chapel.Not only does this exploit the admirable acoustics of the building to the full,but it makes the piece come across almost like a dialogue between the "Earth" of the main choir and the "Heaven" of the solo group,who send up the high C like some kind of beautiful benediction on their brethren below.Lovely stuff,and as atmospheric a performance as I've ever come across of this little "miracle" in music.

Yet despite all that,I think that the stunning performance of Palestrina's gorgeous "Missa Papae Marcelli" may turn out to be the main reason that you will come to cherish this recording.From it's oh so sublime "Kyrie" to the soul-stirring raptures of that matchless "Sanctus" and two part "Agnus Dei",it is undoubtedly the most approachable and enchanting of all polyphonic settings of the Mass.The Scholars did a fine live version in their sojourn to Rome some years later to commemorate the 400th anniversary of the great composer's death,but personally speaking I find that one a shade too "driven" for my taste,and I nearly always return to the more laid-back seraphic sweetness of this earlier outing.

Sandwiched between the twin peaks of pleasure that Allegri and Palestrina were so kind as to bestow upon the world,is the "Vox Patris Caelestis" (The voice of the Heavenly Father) of our own home grown talent,William Mundy.It is directly contemporary with the "Missa Papae...", and perhaps at first listen doesn't have the immediate appeal of those paradigms,yet it does reap dividends on deeper acquaintance,and is the perfect "sonic bridge" between the paradisiacal poles of the other items.Also,the producers of the CD should be patted on the back for that well-judged interval of contemplative silence that follows the impressive final Amen of Mundy's masterpiece,and therefore allows us to collect our thoughts before the Mass steals so gently upon our ears,hearts and souls.

Yes,this is a disc that belongs in everyone's collection (Classical lover or not) and if it doesn't immediately leap on to your desert island short-list,I'll get ready to make my hat the main course in my next meal !