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is well handled for the most part, especially in the early stages of the Mass
and the excerpts from Isaac’s posthumous magnum opus, Choralis Constantinus.
Rarely has this ensemble sounded so full and blooming in sacred polyphony,
helped by the presence of two sopranos for the top line. In the Credo, however
(try the opening section), there are signs of fatigue, and the loss of precision
of detail affects the projection of large-scale structure. The delivery of the
plainchant is more consistent, though some decisions concerning its
interpretation puzzle me (particularly the style of the added voice in the
Communion, a matter on which the programme note is silent). Despite these
reservations, Isaac is at or very near the top of his game in this imposing
programme, so aficionados of this period needn’t hesitate.
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