First, I should note that this cycle is not complete: Volume 8 was recorded in 2013, and released in 2021 (after Volume 7 had been released in 2019, per release years for each issue noted parenthetically above...), but the intended Volume 9 was to be recorded later, i.e. during the pandemic, also to be released in 2021. Will that final album (presumably to include the Missa Gaudeamus & Missa Faisant regretz) be completed? That remains unknown.
Second, although it's obviously unfair, my reaction to this series mostly plays out against my reaction to the Tallis Scholars series, meaning that I tend to value the issues here that cover weak spots in that series.... But that's also not to suggest that their approaches are similar. (I mean, they're similar in the sense of spending more than a decade recording & releasing Josquin masses.... ) In this case, Hanai also recorded & released albums including Josquin motets, prior to undertaking the mass series — whose first recording is from 2009 (vs. "2008 or prior" for the Tallis Scholars), so there was earlier experience.
Moreover, the Vocal ensemble Cappella takes its technical inspiration from Rebecca Stewart's ideas on "modal singing" & thus works to articulate without modern breath support. I support this approach to historical music, and the resulting tone production yields rather different results from the "more modern" approach by the Tallis Scholars (& most groups), but there are also issues: Although Stewart apparently takes her inspiration from e.g. dhrupad, she seems to feel that a more mellow tone precludes lively rhythm (while dhrupad itself seems clearly to dispute this conclusion). The Hanai performances thus have a tendency toward rhythmic slack: When the articulation is clear, and the ideas are being engaged strongly (as happens at various times in the series...), details come through nicely, but when recognition tends to lag, the readings can become quite "soft" rhythmically.... So that's been the downside, practically speaking, of this approach, but I don't actually believe it to be inherent. (In other words, a more rhythmically contoured "modal singing" seems entirely possible to me. Probably this is just a matter of continuing to develop technique & to work with the material....)
Basically, Hanai & company produce a more mellow result, less strongly articulated, but also bringing out a greater variety of modal coloration. One might thus call these introvert readings — versus the extroversion of the Tallis Scholars....
So that said, let me now note some individual highlights from the series (proceeding chronologically by recording/release date):
Missa Pange lingua: Again per the Tallis Scholars remarks, the reading of this mass is a weak point in that series, but its general modal counterpoint also fits the Ensemble vocal Cappella style rather well. Theirs is a modest rendition, somewhat restrained, but also building, a bit disjointed in some moments, but a generally transparent (& luminous) reading.... (This recording was also relatively early in the Hanai series. The ensemble does bring a distinctive feel already, though.)
Missa Malheur me bat: Although also still relatively early in the series, this is one of the best readings by Hanai & company. It can be a little foggy at times, but projects wonderful colors & an overall sense of form. It's almost boisterous at times, with a quick pace, although struggles with lack of flexibility in articulating the long text of the Credo (where the Tallis Scholars get into a bit of "locomotive mode," churning away as well...). I still prefer the Tallis Scholars interpretation (that really put this mass on the map for me), but this rendition has its merits.
Missa Ave maris stella: As noted, the Tallis Scholars reading of this "perfect" little mass can be overly severe, and so the Hanai reading makes a nice alternative. Indeed, it's relatively strongly contoured & assertive for the group, evoking a play of moods & seemingly keeping some interpretive reserve to emphasize climactic passages, although it does end rather abruptly....
Missa L'homme armé I & II: I'm treating these two cycles together, as they're (as so often...) on the same program here. And also as noted in that discussion, these are early Tallis Scholars readings that aren't of (much) value today, so Ensemble vocal Cappella kind of gets the nod here "by default." (There's also the 21st century program from Maurice Bourbon, but that's also early in his series, and the masses generally seem disjointed, even blustery there by comparison....) Their interpretations can seem rather routine at times, going through the motions (or perhaps being too careful?), but as already suggested, here with preferred clarity.... There's something of a hypnotic quality to this album, as many of the relations tend to present beneath conscious recognition. (Still, I'd appreciate a new, more lively, interpretation of these works.)
Missa sine nomine: Although released in 2021, this program was actually recorded back in 2013, and places the more elaborate mass second, after a very clear & easy to follow reading of the Missa ad fugam. Although I still find myself (barely) preferring the Tallis Scholars version, which simply projects more detail, this is one of Hanai's most coherent recordings in general: A sophisticated flow is engaged, although a more tentative quality does reappear at times as well.
I should add that I can't read the liner notes for this series, in Japanese, so I don't know what they actually have to say about the performance approaches.... So I'm going only by ear. These releases do include discussions, though.
And as noted, the series is not actually complete. I'll presumably be interested in their updated reading of the Missa Gaudeamus, especially, if it occurs.... (After all, I imagine they planned it as something of a "graduation" for themselves....)
Todd M. McComb Updated: 27 January 2022