Cristóbal de Morales - Missa Si bona suscepimus - Gimell: CDGIM033 - CD or download

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The Tallis Scholars move into new territory for them: Cristóbal de Morales is perhaps the most admired Spanish composer of all time, to judge from the distribution and longevity of his works.
But... — Gramophone Classical Music Guide, 2010 More…

Release Date: 1st Nov 2000
Catalogue No: CDGIM033
Label: Gimell
Length: 55 minutes

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Verdelot: Si bona suscepimus

Work length6:56

$1.05

$1.30

$1.60

The Tallis Scholars
Peter Phillips

Morales, C: Missa Si bona suscepimus

Work length40:56

$7.45

$9.10

$11.25

The Tallis Scholars
Peter Phillips

Kyrie

Track length4:54

$1.05

$1.30

$1.60

Gloria

Track length6:45

$1.05

$1.30

$1.60

Credo

Track length12:51

$2.15

$2.60

$3.25

Sanctus & Benedictus

Track length8:22

$1.60

$1.95

$2.40

Agnus Dei

Track length8:04

$1.60

$1.95

$2.40

Crecquillon: Andreas Christi famulus

Work length8:03

$1.60

$1.95

$2.40

The Tallis Scholars
Peter Phillips

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2010

The Tallis Scholars move into new territory for them: Cristóbal de Morales is perhaps the most admired Spanish composer of all time, to judge from the distribution and longevity of his works.
But not nearly enough of his music has appeared on disc. In particular, the six-voice Mass Si bonasuscepimus appears not to have been recorded before. It was printed in his first book of Masses (1544) and undoubtedly comes from his years in the papal chapel. At first listening, there may be something almost too serene about its flawless counterpoint that flows with effortless invention.
But there's an abundance of arresting detail in here, and he uses the six voices with an astonishing variety of textures.
The Tallis Scholars are up to their usual standards of magnificent sound colour, nicely judged balance and extremely pure intonation.
There's nothing overtly Spanish in the performance: they simply sing what's in the music, without imposing too much externally. They hardly ever rush or slow down severely, preferring to allow the music to unfold at its own flexible pace. That could seem bland until you compare the sound with the introductory fivevoice motet of Verdelot on which the Mass is based, or indeed the marvellous Crecquillon motet that ends the disc; these immediately sound quite different.

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