Composer: Gregorio Allegri
Works: Miserere Mei, Let my complaint, If you love me, Delight is dead, O sacrum convivium, How vain the toils that mortal men do take, O Lord, how long wilt thou forget?, Was mein Gott will, Auf dem Gebirge, O quam tu pulcra es, Super flumina Babylonis, Il bianco e dolce cigno, Salve, O regina, Stabat Mater
Performers: Paul Esswood, James Bowman (countertenors), James Griffett (tenor), Bradford Tracey (organ), English Consort of Viols
Recording: RRC 1065
Label: Regis
The music of Gregorio Allegri, particularly his ethereal Miserere Mei, has held a prominent place in the choral repertoire since its composition in the early 17th century. This disc, featuring a selection of sacred works from the Renaissance and early Baroque periods, showcases not only Allegri’s masterpiece but also the rich tapestry of polyphonic choral music that flourished in this golden era of counterpoint. The program provides an evocative journey through the works of Thomas Tallis, William Byrd, Heinrich Schütz, and others, all of which illuminate the stylistic transitions of their time.
The performances by Pro Cantione Antiqua offer a striking interpretation of the Miserere, characterized by a full-bodied and expressive choral sound. The singers’ voices blend beautifully, with a compelling sense of ensemble that is crucial for the execution of such intricate polyphony. The phrasing is fluid, yet each line is given its due weight, allowing the work’s emotional depth to resonate profoundly. However, the absence of a boy treble in this rendition is felt acutely; the purity and innocence that a treble voice typically imparts to the Miserere are notably missed, creating a slightly different emotional landscape.
Solo works featuring countertenors Paul Esswood and James Bowman, along with tenor James Griffett, reveal fascinating contrasts in vocal interpretation. Esswood’s sound is imbued with a pronounced vibrato and a more ‘feminine’ quality, which brings a distinct warmth to pieces like Byrd’s Delight is dead. In contrast, Bowman’s approach leans towards a straighter tone, aligning more closely with contemporary performance practices. This juxtaposition not only highlights the evolution of countertenor singing but also enriches the listener’s experience, as one can appreciate the stylistic shifts across generations.
The recording quality merits attention, as it reflects an older production style that lacks the pristine clarity of modern engineering. While the recordings do exhibit a certain warmth and charm, the sound can occasionally feel constrained, limiting the dynamic range and subtlety of the performances. This is particularly evident in the solo works, where the accompaniment by the English Consort of Viols, though engaging, sometimes competes with the vocal lines rather than complementing them. The absence of detailed recording information is regrettable; such context would enhance our understanding of the performances’ historical significance.
This collection offers an impressive survey of sacred music, expertly curated to juxtapose the unique styles of its featured composers. The interpretation choices made by the performers reveal both a reverence for tradition and a willingness to explore the expressive possibilities of the repertoire. The Stabat Mater by Palestrina stands out as particularly noteworthy, executed with impeccable pacing and clarity that brings the text to life in a way that few renditions manage to achieve.
A rich tapestry of music from the late Renaissance and early Baroque periods, this recording encapsulates a pivotal moment in the history of sacred music. While the performances are not without their limitations—particularly in terms of sound quality and the absence of a treble voice—the interpretive choices made by the artists provide a compelling glimpse into the emotional and musical depth of the works. The disc serves as a valuable resource for both seasoned listeners and newcomers, inviting a deeper appreciation for the complexities of choral music from this enchanting era.
