Composer: Robert Fayrfax (1464-1521)
Works: Missa O quam glorifica, Missa Tecum principum, Missa Albanus, Missa O bone Ihesu (including Elevation motet Resurrexio Christi), Missa Regali ex progenie
Performers: The Cardinall’s Musick, directed by Andrew Carwood and David Skinner
Recording: Recorded in the Fitzalan Chapel, Arundel Castle, Arundel. Recording dates: November 1994, May 1995, October 1995, May 1996, May 1997
Label: ASV Gaudeamus CD GAX 353 [225.23]
The music of Robert Fayrfax, a quintessential figure in the early Tudor choral tradition, represents a rich tapestry of polyphonic texture and liturgical significance. Living during the transition from the late medieval to the early Renaissance, Fayrfax’s compositions reflect not only the stylistic characteristics of his time but also a deep engagement with the sacred texts that he set to music. The present collection, featuring five of his masses, showcases the intricacies and emotional depth of his work, offering a profound insight into the spiritual life of Tudor England.
The performances by The Cardinall’s Musick, under the expert direction of Andrew Carwood and David Skinner, are exemplary in their execution and interpretation. The choir’s approach to the polyphony is characterized by a luminous blend of voices, where the inclusion of female sopranos adds a delicate ethereality without compromising the historical authenticity of the performance. This blending of voices is particularly effective in the “Missa O quam glorifica,” where the interplay between the parts creates a radiant soundscape that illuminates Fayrfax’s intricate musical lines. The rhythmic vitality throughout the masses is commendable, with Carwood deftly navigating the various tempo contrasts that punctuate the work. The climactic moments, especially at the conclusions of the Gloria and Credo, are delivered with an exhilarating fervor that commands attention.
Recording quality plays a pivotal role in the listener’s experience of this music. Captured in the resonant acoustics of the Fitzalan Chapel, the clarity of each vocal part is striking. The engineering allows for a transparency that highlights the complex counterpoint inherent in Fayrfax’s writing. Each voice is distinctly audible, yet they coalesce into a cohesive whole, enhancing the harmonic richness of the compositions. The overall sound is full-bodied without being overwhelming, maintaining an appropriate balance that permits the listener to appreciate the subtleties of the polyphonic fabric.
A notable addition to this collection is the elevation motet “Resurrexio Christi,” a recent discovery that enriches the listening experience. Its placement within the “Missa O bone Ihesu” is particularly apt, offering a glimpse into Fayrfax’s liturgical creativity. The motet’s reconstruction exemplifies the meticulous scholarship of Skinner, whose editorial choices respect the historical context while allowing modern performers to bring this music to life.
Comparatively, while other recordings of Fayrfax’s work exist, such as those by the Tallis Scholars, this set stands out for its fresh interpretation and the depth of understanding brought to the performance. The combination of technical precision and emotional interpretation found here is both rare and commendable, marking a significant contribution to the revival of early Tudor music.
The recordings of Robert Fayrfax’s masses by The Cardinall’s Musick represent a remarkable achievement in the realm of early music. They breathe new life into compositions that had long been overshadowed, inviting a contemporary audience to engage with the beauty and complexity of Tudor polyphony. This set is an essential acquisition for anyone interested in the evolution of the English choral tradition and a testament to the enduring power of sacred music across the ages.
