Classical Music: Morales

Between the death of Josquin in 1521 and the rise of Palestrina and Lassus taking over the mantle in the 1550s, Cristóbal de Morales was the most famous composer of sacred music in all western Europe. But according to Kenneth Kreitner, Morales remains a mysterious and tragic figure in the history of Renaissance music. A life that is a sad story of frustration, disappointment and misery.

The two conductors Robert Hollingworth and Eamonn Dougan shape the polyphonic writing superbly, the choir responding with first-rate, balanced and resonant singing underpinning Morales’ beautiful contrapuntal structure.

As a composer Morales was best known throughout the Catholic world for his magnificats; the Magnificat Primi Toni is a wonderful example of his skill in writing for the papal chapel and with the Missa Mille regretz, represent early examples of Morales work.

The varied complex and satisfying harmonic writing is brought out by De Profundis’s adept proficiency in controlled singing that demonstrates the rich textures and tonalities.

The timelessness of the pieces coupled with the vocal colour and exquisite phrasing holds the listener’s attention.

The album begins with his best known mass, Missa Mille regretz, for six voices, the popularity of which Kreitner writes, is probably due to it being based on a famous song attributed (rightly or wrongly – there is some debate) to note other than Josquin des Pres. The short song Mille regretz is performed by Martha McLorinan (alto), Lynda Sayce (lute) to introduce the mass.

The less familiar Missa Desilde al cavallero is for four voices and here with chamber organ, ends this first rate disc with a fine resonant sound. This mass is introduced again by Martha McLorinan (alto) and Lynda Sayce, this time on vihuela.

This will undoubtedly be another hugely successful Hyperion series, I am already looking forward to volume 2.