Jacob Obrecht: Missa Grecorum & motets

Jacob Obrecht: Missa Grecorum & motets
The Brabant Ensemble / Stephen Rice
Hyperion CDA68216

Jacob Obrecht (1457/8-1505) is still not as well represented on disc as one might hope despite having (briefly) succeeded Josquin Des Prez in Ferrara, and having written over thirty cyclic masses. This excellent premiere recording of Missa Grecorum is a very welcome edition to his discography and also includes the first recording of the motet O beate Basili.
[...]

Perhaps the biggest surprise of this disc, though, is the nimble and charming setting of Mater Patris / Sancta Dei genitrix. The tuning takes a moment to settle, but soon the motet unfolds ravishing chains of tumbling phrases on Aures tuae pietatis Ad nos vertens a peccatis… (Turning your merciful ears to us, release us from sin). Obrecht’s music, and these performances are ravishingly beautiful and form a well-matched pair.

To read the full text of this article please visit www.gramophone.co.uk (February 2018)

A due alti: Chamber duets by Bononcini, Steffani, Marcello et al.

A due alti: Chamber duets by Bononcini, Steffani, Marcello et al.
Filippo Mineccia & Raffaele Pe, La Venexiana / Claudio Cavina
Glossa GCD 920942

Countertenors Filipo Mineccia and Raffaele Pe form a vocally impressive and well-matched duo for this selection of duetti da camera from the first half of the eighteenth century. Unlike operatic duets where characters are usually in dialogue with each other or duelling from opposing perspectives, these chamber works frequently present musically equal partners, often performing the same text. As such they broadly follow the development of the solo chamber cantata with familiar recitative and aria structures, and highly nuanced texts.

[...] Listen especially for the glorious harp playing of Chiara Granata’s prelude to Cristofaro Caresana’s (c.1640-1709) Lamento degli occhi… which also contains some of the best singing on this album. The countertenors are particularly engaging cast as one eyeball each.

To read the full text of this article please visit www.gramophone.co.uk (February 2018)