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Most Helpful Customer Reviews
9 of 11 people found the following review helpful:
4.0 out of 5 stars
Good for the most part...,
This review is from: Lamenta (Audio CD)
The music recorded here comes from a variety of composers: Ferrabosco, Tallis, White, Brumel, and Palestrina. The pieces are all settings of biblical texts from the Lamentations of Jeremiah, traditionally sung during Holy Week. The Palestrina and Tallis settings are the only ones I'm familiar with outside of this recording, and both settings are masterpieces - Palestrina's display the subtle yet intense emotion which characterizes his music (don't be fooled by the notion that his music is technically perfect but lacks intensity; I happen to think that it is a Romantic myth). Tallis' are an unbelievable peregrination through despair, hopelessness, and ultimately hope. The Ferrabosco, which as I said I'd never heard before, is also telling - it skillfully renders the same range of emotion. The Brumel is interesting as well - based on a series of sonorous chords and decidely less polyphonic than the other settings, it seems to lack the skill of composition which characterizes the Tallis and Palestrina, but is still beautiful in its own way. The White settings are fine as well, and as mentioned they are only available on this recording (I think). The singing is per usual for the Tallis Scholars - pure tone, clear diction, perfect pitch, etc. Unfortunately those things, in some places at least, tend to add up to an immaculate yet uninspired reading - their singing can be thought of as cold compared to some groups. Another objection that I have is that the sopranos tend to dominate the music (it is worse in some places than in others - it is unbearable in the White settings). I have decided that the problem, though, is in the recording process and not the choir itself because when I've heard them live, the choir does not have that problem. One thing that really bothers me about Phillip's interpretive approach (a lot of other directors do it, too - don't think i'm singling him out) is that he transposes much of the music up (some of the pieces by quite a lot). The ear might not be affected with a piece like a Palestrina mass in a major key; but the color of sound produced is essential to these highly emotional pieces. The effect of transposing the music up (and singing it with women's voices, another practice disconcerting to me, and in disagreement with the original intent of the composers, at least in some cases) is to rob the music of the dark, brooding quality that is so essential to it. The probably is especially noticable to me in the Tallis and Palestrina settings (having heard recordings of those pieces by all male choirs sung in the original pitch). I would like to say, however, that the Brumel, which is sung with only men, sounds astoundingly good. I'm not sure why that setting is the only one sung that way but maybe Phillips should reconsider his performance practice - that particular piece sounds amazing. But those objections belie the intent of the recording which is to present a collection of Lamentations by various composers and to introduce some settings not often heard, and in that way the recording is successful. Both well known and unknown music is recorded on a disc which brings together music of the same genre (a genre which is particularly important and enjoyable, even as Renaissance sacred music goes). It is fine as a collection - this recording is the only place to find some of these pieces, and it brings together some very worthwhile music. To really hear the Tallis Lamentations, listen to the recording by the Hilliard Ensemble (which will blow you away not only because of its own merits but because of the readily apparently differences between that sound and the one on this recording). For a recording which lends more justice to the Palestrina, go for the Musica Contexta recordings under Simon Ravens. Also, don't let the liner notes for this recording fool you - they note that Palestrina is the only composer of those presented that does not seperate the sections by the Hebrew letters (aleph, beth, caph, etc.); the implication is that he did so as a matter of artistic license. But the setting recorded here is the final of a set of 9 (3 each for the 3 most important services in Holy Week) and that particular setting always omitted the Hebrew (don't get the impression that Palestrina is defying convention). So in summary, if you're looking specifically for settings of the Holy Week lamentations by Tallis or Palestrina, you're better off to look elsewhere. But if you want to hear some music which is not recorded elsewhere or just want a collection of music of this kind, this recording is a good choice.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Solid mixture of Lamentations,
By
This review is from: Lamenta (Audio CD)
I confess that I am a Lamentations of Jeremiah junkie - having more music for Tenebrae than for Christmas! I agree with the preceding reviewer, Guy Cutting, that the Tallis and Palestrina are good but uninspired. The reason to get this collection is the three uncommon settings - Ferrabosco, Brumel, and White all 15th-16th century. Each of these write traditional polyphonic Lamentations i.e. provide ornate settings for the Hebrew letter (in Hebrew the Lamentations are acrostics) and settings that insure the text dominates for the verses. All three write interesting and sombre settings, settings not better known because there are so many spectacular settings for the Lamentations but only three days of Tennebrae. Although not spectacular, the settings are well worth keeping alive - so enjoy.
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