This portrait of
the sixteenth-century Spanish composer Francisco Guerrero is
The Tallis Scholars’ first Gimell recording of this sometimes
overshadowed master of vocal polyphony. In addition to the mass
setting, Missa Surge propera, the disc also contains
seven other works for varying liturgical use, including a motet
of the same name. Contrary to expectations the pieces are not
related musically.
The mass itself
is one of eighteen Guerrero settings of the Ordinary. It displays
some of his most luxuriant writing in six parts. In his concise
and informative notes, Peter Phillips, the choir’s founder,
points out that Guerrero rarely needed to rely on chordal writing,
instead preferring more persistent individual lines as far as
possible. This is certainly the case in the six movements of
this particular mass. The Tallis Scholars present a wonderfully
balanced interpretation, which is wide-ranging both in texture
and dynamic. The sumptuous quality of the scoring is expertly
demonstrated in performance, particularly when the six voices
are grouped into the three upper and three lower voices.
Equally as interesting
as the mass are the seven remaining pieces, of which four set
Marian texts (Ave Maria, Ave virgo sanctissima and Regina
Caeli laetare), two are penitential, while the final one
(Surge propera) sets love poetry from the ‘Song
of Songs’. The two penitential motets – Usquequo, Domine
and Hei mihi, Domine – create a poignant mood, which
manifestly demonstrate Phillips’ suggestion that the structural
perfection of much of Guerrero’s work often conceals a deeper
emotional complexity beneath the surface.
Guerrero was a prolific
composer of motets using texts in honour of the Blessed Virgin
Mary. Of the four here, Ave, virgo sanctissima is possibly
one of the best-known works of polyphony to come from Spain
in the sixteenth century. Regina caeli laetare
and Ave Maria are both eight-part motets. The latter
in an antiphonal two-choir setting contains perhaps the most
chordal writing on the disc, The former with its abundant polyphony
is in sharp contrast. The remaining Marian motet, Beata Dei
genitrix, is a substantial work in two halves. It is a predominantly
reverential and serene work leading up to exultant ‘Alleluias’
which end both parts of the motet. The manner in which The Tallis
Scholars serve to illuminate each of these works is exemplary.
The final work on
this disc, Surge propera is on a similar scale to that
of Beata Dei genitrix, also being in two halves. As already
mentioned the text is from ‘Song of Songs’, but there is an
addition of a repeated augmentation of a chant (or cantus
firmus) associated with ‘Veni, sponsa Christi’, which is
found in the middle of the texture and serves to enhance the
sultry and exquisite qualities of the music. This once again
receives a suitably stylish interpretation.
The usual and distinct
blend for which The Tallis Scholars are well-known is in evidence
here; vivid and pure sounding soprano and alto lines are combined
with rich and rounded tenors and basses. Those who are used
to hearing the customary precision, clarity and impeccable musicality
of this group will not be dissatisfied. From the opening of
the Missa Surge propera, this recording does not disappoint
and makes a substantial and welcome contribution to the Guerrero
discography – a fantastic marriage of choir and repertoire.
Adam Binks
The Tallis Scholars/Peter
Phillips
