Stile Antico’s new Christmas disc uses as its backbone a technique they
have tried before: namely, to use one major work and to intersperse other
motets between its movements. In this case, it’s Clemens non Papa’s
Missa Pastores quidnam vidistis. The motet on which the mass is
based has a text centring on the experience of the Bethlehem shepherds. Sung
here, it sounds fresh and light and full of space, and it's very
clear when the text turns from the question to the answer, a tribute to how
naturally communicative this choir is. As for the mass, the
Kyrie
moves with thoughtful steadiness, the
Gloria is busy and, for me,
the
Credo is particularly beautiful, as if caught up in the mystery
it is describing. The
Sanctus and
Benedictus both begin
this way, but then break off into beautifully judged parallel lines that
resemble the pealing of bells. The
Agnus Dei, full of crystalline
beauty and its fair share of Latin mystery, is a beautiful way to end the
disc.
Elsewhere, there is a nicely chosen set of motets between the mass
movements. Michael Praetorius’
Ein kind geborn in Bethlehem has
ethereal clarity combined with the sense of the dance that was so closely
associated with early carols. It’s a delightful combination of the spiritual
and the earthily human which gathers in joy as it progresses.
Es ist ein
Ros begins with the simple stanza we all recognise before pealing off
into Melchior Vulpius’ beautifully styled canon on the same text, which is
so immediate as to sound almost like a madrigal. Jacob Handl’s
Canite
Tuba, for male voices only, has an appealing directness to it, while
his
Mirabile Mysterium rings with chromatic weirdness that you just
don't associate with music of this period. It's uncanny, but
strangely beautiful.
Hieronymus (no relation to Michael) Praetorius’ 8-part
Magnificat
sounds both spectacular and intimate, and it features two interpolated
carols, most notably the famous
In dulci jubilo. The top soprano
line is particularly clean and appealing here, while Eccard’s
Übers
Gerbirg Maria geht has a folksy warmth to it that is very appealing, as
is his direct, unfussy setting of Von Himmel Hoch. There is also a lovely
clarity to Hassler’s
Hodie Christus natus est.
In sum, every bit as excellent as we have come to expect from Stile
Antico, and a good companion piece to their earlier Christmas disc,
Puer natus est.
Simon Thompson
Previous review:
Jonathan Woolf
