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Ludwid Senfl: Missa Pascalis Motteten & Lieder
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About Ludwid Senfl: Missa Pascalis Motteten & Lieder
From the ancient church of St Emmeram in Regensburg, Bavaria, comes this new recording of music for the Emperor Maximilian I. An Easter Mass by court composer Ludwig Senfl (c1486-1543) is sung by the acclaimed Choir of Sidney Sussex College, Cambridge. They are joined on this occasion by QuintEssential, playing ancient brass instruments. Plus solo songs and harp music with Andrew Lawrence-King, harp, and vocal soloists including stunning bass Robert Macdonald. THE MUSIC & THE RECORDING This recording highlights Senfl's mastery of the many musical styles within which he worked. The centrepiece is his Missa Paschalis (or Easter Mass), scored for five voices including two equal upper parts. Following earlier traditions, the Kyrie and Gloria [1 & 2] and the Sanctus and Agnus Dei [6 & 7] are paired, though it would appear that the latter set was extracted from another of Senfl's masses. Each pair are in different modes, and while the Kyrie and Gloria are based on the chant for Easter Day, the chant present in the Sanctus and Agnus Dei is assigned to Sundays in Advent and Lent, hence their separation on this recording. Senfl's Mass is open to many interpretations regarding instrumentation and performance. Numerous woodcuts from the period indicate that early German music (sacred and secular) was often accompanied by cornetts and sackbuts and this solution is explored here. Certainly when the plainsong cantus firmus is present in each movement the composed voices surrounding that part become more animated and more instrumental in character - and the mixture of full choir, solo voices and instruments heard here seems to provide a satisfactory series of contrasts within what could otherwise be a full, and perhaps relentless texture. The other choral works include Senfl's famous re-working of Josquin's 4-part Ave Maria into a grand 6-part motet [11], where one of the inner voices (here played by a solo shawm) repeats the opening phrase as a compositional anchor to th
