Playing time: 55' 27"
Performers:
Cappella Pratensis [Rebecca Stewart, Renée Kartodirdjo,
Annelies Coene, André Cats, Christopher Kale, Ludy Vrijdag,
Sjef van Leunen, Bart Demuyt, Herman de Winné, Rob Borst
(voices); Stratton Bull (chant)] - Rebecca Stewart, dir
Recording site and date:
Église St. Apollinaire de Bolland, Belgium [10/1997 &
06/1998]
Reviewed in:
Diapason (#-p.): 453-108 (november 1998)
Gramophone (Vol./#-p.): 76/911-84 (february 1999)
Fanfare (Vol./#-p.):
Comments:
Information kindly provided by Ed Mos and from owned CD. It won
a "Diapason d'or".
This Missa Mi-Mi or Missa Quarti toni has been perhaps Ockeghem's most enigmatic. The titles refer alternately to the E-A interval jump represented as Mi-Mi in adjacent hexachords or the Hypophrygian mode. It is now suggested that the cycle is based partly on Ockeghem's chanson Presque trainsi, as each movement opens with a similar tenor line. In the present discussion, Rebecca Stewart goes on to suggest that the interplay of the mass cycle is based on the idea of the cross and the crucifiction.
The choice of plainchant Propers, in this case the mass for Maundy Thursday, was made with that idea in mind. It is presented here as preserved in French sources of the period, although it is not specifically believed to have been performed with the present mass at the time.
The motet Intemerata Dei Mater borrows material from the Missa Mi-Mi, as well as the Missa Fors seulement. Any discussion of motivic connections & symbolism in Ockeghem's music can only be seen as the beginning of a seemingly endless process, as the smallest gesture in a work packed with original material from beginning to end becomes charged with meaning.
Finally, other recordings labeled in this series, by different ensembles:
For the other recordings in this series by the present ensemble, please see the "alternate location" link below.
To purchasing information for this disc.
To FAQ references to this recording.
To FAQ CD index page.
Todd M. McComb