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Missa Tempore Paschali (Brown, Henry's Eight)

Jonathan Brown Audio CD
4.3 out of 5 stars  See all reviews (3 customer reviews)
Price: £19.40
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Product details

  • Audio CD (14 May 1997)
  • Number of Discs: 1
  • Label: Hyperion
  • ASIN: B000002ZZD
  • Other Editions: Audio CD
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 209,906 in Music (See Top 100 in Music)

1. Missa Tempore paschali: Magnificat Octavi Toni
2. Missa Tempore paschali: Kyrie
3. Missa Tempore paschali: Gloria
4. Missa Tempore paschali: Adonai, Domine Iesu Christe
5. Missa Tempore paschali: Credo
6. Missa Tempore paschali: In Illo Tempore
7. Missa Tempore paschali: Sanctus
8. Missa Tempore paschali: Benedictus
9. Missa Tempore paschali: O Rex gloriae
10. Missa Tempore paschali: Agnus Dei

Product Description

HYP 66943; HYPERION - Inghilterra;

Customer Reviews

3 star
2 star
1 star
4.3 out of 5 stars
4.3 out of 5 stars
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
5.0 out of 5 stars Superb choral singing 26 Feb 2008
Format:Audio CD
The ensemble, musicality and intonation of Henry's Eight (notably here also with Robin Blaze) are superlative. I warmly recommend this and their other Hyperion Gombert CD ("Church music"/ "Eight-part credo, Media vita" etc.), see also their Robert Whyte and Lassus recordings, which are also well worth having. I much prefer their versions to those with women's voices, with the possible exception of the Tallis scholars which have a brigter, somehow more optimistic feel to them, but arguably less sensual than Henry's Eight.
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3 of 3 people found the following review helpful
4.0 out of 5 stars Another decent Gombert selection from Henry's Eight 17 April 2011
Format:Audio CD|Verified Purchase
This was a purchase following on from another Gombert disc by Henry's Eight, Credo & other sacred music. It is of course of the same high performance standard, but feels not quite as good in the acoustics, being a little too echoey and airy.

The disc opens with one of Gombert's eight magnificats, here the octavi toni (incidentally I may recommend the Tallis Scholars' set of all eight). The obsessive-compulsive in me is slightly annoyed that the Missa Tempore Paschali is broken up by interspersing the motets rather than keeping them separate, but perhaps that's just me. The disc concludes with a stunning explosion of a 12-part Agnus Dei alongside guest vocalists (including the great Robin Blaze)

The sleeve notes (in English, French and German) are brief, but the sung texts with English translations are included.

Full programme:

Magnificat octavi toni
Missa Tempore Paschali: Kyrie
Missa Tempore Paschali: Gloria
Adonai, Domine Jesu Christe
Missa Tempore Paschali: Credo
In illo tempore
Missa Tempore Paschali: Sanctus
Missa Tempore Paschali: Benedictus
O rex gloriae
Missa Tempore Paschali: Agnus Dei
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2 of 2 people found the following review helpful
4.0 out of 5 stars Excellent singing, but ambience problems? 8 Jan 2012
Format:Audio CD|Verified Purchase
I am of two minds about this recording. I bought the earlier recording of Gombert by Henry's Eight, and was blown away (This is the other Helios label recording with the 8 part credo). Now both of these performances were recorded in the ante-chapel of Trinity College, Cambridge...which surprised me, because there is a very reverberant sound to this CD which doesn't occur in the previous one; the choir also sounds slightly removed from the microphones, as if one were listening to a performance in an adjacent room. The singing is excellent, of course, and the music captivating; especially that 12 part Agnus Dei at the end of the mass, but there is a slight annoyance factor for me in this ambience which forces me to deduct a star.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  3 reviews
10 of 11 people found the following review helpful
5.0 out of 5 stars Astonishing Ear Opener 9 Jan 2002
By Thomas Tallis - Published on Amazon.com
Format:Audio CD
We tend to think of Renaissance composers as purveyors of smooth, consonant, somewhat soporific music. Well... It turns out not to be the case. Modern editors edit out the crashing dissonances found in much Renaissance music under the guise of "musica ficta," allowing cross-relations only at cadences.
Now comes this ear-opening recording which presents Gombert's music as he wrote it, jarring dissonances and all. Listen to the 12-part Agnus Dei on this recording. Sublimely dissonant, cross-relations abound.
Don't miss this recording or its companion collection of Gombert's motets.
5 of 5 people found the following review helpful
5.0 out of 5 stars Great Easter Mass at transition from medieval to baroque 22 Feb 2007
By B. Marold - Published on Amazon.com
Format:Audio CD
I was especially pleased to see this recording come up as the third out of 68 different items when I queried the composer, Nicolas Gombert, as it means the recording will be easier to find when you are searching the composers works. While the notes say Gombert wrote eight masses, and this one may be an 'early' work, I think this removes not one wit of interest and enjoyment one achieves while listening to the work. It is the perfect blend of old church reverence and new-fangled polyphony. While I'm a bit of a novice at musical appreciation, I listen to lots and lots of old masses, and this one is a super addition to anyone's collection, even more so because it was done for Easter.
2 of 2 people found the following review helpful
5.0 out of 5 stars How Much Difference Can a Few Flats or Sharps Make? 30 Aug 2012
By Giordano Bruno - Published on Amazon.com
Format:Audio CD
From a casual listener to Renaissance polyphony, that might be a legitimate question, but from anyone who has studied/performed this music, it would be deeply disingenuous. Okay, Casual Listener, it's pretty technical stuff, concerning the rules of harmony and counterpoint based on mathematical ratios, rules about 'musica ficta' for the avoidance of unacceptable intervals, etc etc. You can actually find out a lot about those rules, which were quite essential to the great Flemish composers of the 15th C, on wikipedia. I'll give you some links in a comment. But remember the universal rule of rules? "Rules are made to be broken." We all know that some rule-breakers blunder into things like a first-term Tea Party Congressman and make a mess. Then there are artful rule-breakers, those who prepare their assaults on conventionality and who reveal a new logic within the system of rules.

The 16th Century was replete with rule-extending composers: Adrian Willaert, Cipriano de Rore, Carlo Gesualdo and scores of others whose scores became inexorably more chromatic. [Note that pun, note lovers!] Eminent among them was Nicolas Gombert (1495-1560), who was noted among his contemporaries for his notable employment of dissonances -- his rule-breaking -- including flagrant tritones, crunchy cross-relations, and bizarre cadences. Gombert departed from the tasteful serenity of his predecessor Josquin in many ways, among them his predilection for "thick" textures of polyphony wherein six or more voices sustain their lines with few rests. Trying to "fix" a Gombert score by applying the rules of ficta that had been universal in Josquin's era had led many editors into insoluble perplexities, but nonetheless smoothed-out scores have served to render Gombert 'singable' and insipid for choirs and consorts at all levels from amateur to prominent recording artists.

More recent interpretations of Gombert's masses and motets have demonstrated that what he wrote was what he meant to be heard. If you've sung Gombert or listened to older recordings of Gombert, you will be flabbergasted by the "new Gombert" you'll hear in this performance by Henry's Eight, an all-male vocal consort. Mind you, if you haven't heard the "old Gombert" and if your ears have been conditioned by post-Romantic compositions -- Strauss, Janacek, Prokofiev -- you may not experience the frisson Gombert intended as you listen to the utterly outrageous conclusion of his Magnificat or the flamboyantly chromatic final Agnus Dei of the Miss Tempori Paschali. Even if you aren't startled, however, I can guarantee that you won't find this "new Gombert" insipid or conventional.

Henry's Eight has been around for more than a decade, but I hadn't paid much attention to them until recently. Perhaps I was put off by the dorky name the consort has given itself, or perhaps I had doubts about yet another British vocal ensemble that would sound the same as all the others. Henry's Eight doesn't sound the same. The balance of voices is NOT skewed toward the highest, whether male or female. The tenor and bass parts are sung with vigorous timbres and with independence of phrasing. "Balance" in pre-Baroque polyphony is NOT a question of blending but rather a matter of matching and maintaining rhetorical identity. Henry's Eight has superb balance. To be able to follow each voice through the maze of Gombert's six or eight intersecting lines is a sheer delight. This is a delightful performance, which supersedes any previous recommendation.
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