Writing in The Guardian , conductor and musicologist Robert Hollingworth finds a terrific metaphor that confronts head-on the elephant in the room (or the church) when it comes to performances of renaissance polyphony written in many, many parts: it's often experienced as "just a lovely gooey noise" and a "rich tiramisų of sound" that is layered, sweet, and sensually complex, but exceptionally dense and usually best consumed in small portions. To counter this virtual inevitability when voices are singing 40 (or in one ...
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Writing in The Guardian , conductor and musicologist Robert Hollingworth finds a terrific metaphor that confronts head-on the elephant in the room (or the church) when it comes to performances of renaissance polyphony written in many, many parts: it's often experienced as "just a lovely gooey noise" and a "rich tiramisų of sound" that is layered, sweet, and sensually complex, but exceptionally dense and usually best consumed in small portions. To counter this virtual inevitability when voices are singing 40 (or in one movement, 60) separate parts, on this recording Hollingworth substitutes instruments for some voices. The voices are divided into four or five antiphonal choirs, and Hollingworth creates further textural variety by having instruments double some of the choirs. Anticipating the objections of purists, he asserts that this was an accepted performance practice when the works were written, and offers evidence that the 1567 performance of the 40-voice mass, Missa Ecco sė beato giorno...
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Add this copy of Striggio: Mass in 40 Parts (Cd & Dvd) to cart. $3.92, fair condition, Sold by Goodwill of Colorado rated 4.0 out of 5 stars, ships from COLORADO SPRINGS, CO, UNITED STATES, published 2011 by Decca.
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