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Reviewer: Charles
Brewer This collection of chansons and motets is centered around lamentations. The collection opens with perhaps his most personal lament, ‘Nymphes des bois’, written on the death of Johannes Ockeghem, into which he weaves the opening of the introit for the Mass of the Dead, “Requiem aeternam”, followed by “Nimphes, nappés”, based on a short responsory from the Office of the Dead, ‘Circumdederunt me’. The “Requiem aeternam” is also added to his settings of De Profundis (Psalm 130) and the short penitential prayer, ‘Absolve quaesumus, Domine’. Other selections include the two Davidic laments, ‘Absalon, fili mi’ (also attributed to Pierre de la Rue), the lament for Saul and Jonathan, ‘Planxit autem David’, and his Miserere (Psalm 51), which was an important text in the Tenebrae offices of Holy Week. Two of the selections do not relate to the basic theme of this recording. Josquin’s threesection motet, ‘In principio erat Verbum’ (John 1:1-14), was both the reading for the Third Mass on Christmas Day and also the “Last Gospel”, read by the priest at the conclusion of Mass as a private devotional. The combined setting of the Lord’s Prayer (Pater noster) followed by the Marian prayer ‘Ave Maria’ could have been used in many different contexts. The recording concludes with Nicolas Gombert’s lament on the death of Josquin, ‘Musae Jovis’. The performance is very smooth and sedate, which means it is not very passionate; even the repeated intonations of “Miserere mei Deus” are subdued. Cappella Amsterdam is a 14-voice ensemble, with a clear and balanced sound. In other works of Josquin this reserved approach would be acceptable, but these selections deserved greater attention to the meaning of their texts. | ||||
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