Sacred Music By Alonso Lobo

Editorial Reviews
Amazon.com
The Tallis Scholars first brought the music of 16th-century Spanish composer Alonso Lobo to wide public attention with their recording of Victoria's Requiem: the last item on that disc was Lobo's powerful motet Versa est in luctum, written for the funeral of Philip II in 1598. That motet has become quite popular, having been recorded half a dozen times since; now Gimell has released an entire CD devoted to Lobo. Versa est is here again (in an even better performance), along with several other fine motets and the Missa Maria Magdalene, a gleaming six-voice Mass based on an Easter motet by Lobo's teacher, Guerrero. --Matthew Westphal

Sacred Music By Alonso Lobo, Music, Adrianne Hill, Caroline Trevor, Michael Lees, Robert Harre-Jones, Donald Greig, Francis Steele, Robert Evans, Robert MacDonald, Simon Birchall, Simon Davies, Stephen Charlesworth, Francisco Guerrero, Alonso Lobo, The Tallis Scholars, Barbara Borden, Deborah Roberts, Ghislaine Morgan, Rachel Platt, Ruth Dean, Ruth Holton, Sally Dunkley, Tessa Bonner, Charles Daniels, David Lowe, Paul Agnew, Robert Johnston, Rufus Muller, Stephen Harrold, Choral, Choral Music, Classical, Classical Music, Miscellaneous, Miscellaneous Music, Motet

Sacred Music By Alonso Lobo
Average customer rating:

Typical Tallis scholars...

inventive music of the spanish renaissance

Sacred Music By Alonso Lobo

Manufacturer: Gimell
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
All Works by Lobo | Lobo, Alonso | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
ASIN: B0000041M5
Release Date: 1997-11-11

Tracks:

Motet: Maria Magdalene
Missa Maria Magdalene: Kyrie
Missa Maria Magdalene: Gloria
Missa Maria Magdalene: Credo
Missa Maria Magdalene: Sanctus & Benedictus
Missa Maria Magdalene: Agnus Dei I & II
Motets: O quam suavis est, Domine
Motets: Quam pulchri sunt
Motets: Ave Regina caelorum
Motets: Versa est in luctum
Motets: Credo quod Redemptor
Motets: Vivo ego, dicit Dominus
Motets: Ave Maria

Amazon.com

The Tallis Scholars first brought the music of 16th-century Spanish composer Alonso Lobo to wide public attention with their recording of Victoria's Requiem: the last item on that disc was Lobo's powerful motet Versa est in luctum, written for the funeral of Philip II in 1598. That motet has become quite popular, having been recorded half a dozen times since; now Gimell has released an entire CD devoted to Lobo. Versa est is here again (in an even better performance), along with several other fine motets and the Missa Maria Magdalene, a gleaming six-voice Mass based on an Easter motet by Lobo's teacher, Guerrero. --Matthew Westphal

Customer Reviews:

Typical Tallis scholars..........2000-06-13

Alonso Lobo was held in the highest regard as a composer in his time - he was considered to be one of the finest composers of his time (a sentiment shared, incidentally, by fellow composer Victoria). His output is of extremely high quality. It displays a wide range of extremely potent emotion; that range is represented on this recording. The Mass is a brilliant piece (brilliant, I mean, in color) - the sonority is bright and joyful. The Kyrie is beautiful, marked by soaring lines. The music displays the same compositional skill as music by Lobo's more well known contemporaries (Palestrina, Victoria, etc.). Versa est in luctum is one of my favorite pieces, not only for the sheer beauty of its part writing, but for the sensitive attention Lobo pays to the emotions indicated in the text (despair, compassion, penitence, and ultimately hope). It is truly a masterpiece. That's not to say that all the pieces are included are not of great value - but Versa est is particularly stunning. The title of the review "Typical Tallis Scholars" implies some merit and some faults. As my other reviews of the Tallis Scholars indicate, they are technically immaculate. They sing with perfect pitch, dynamics, etc. Unfortunately I think they often fail to become involved in the music, giving a cold, removed reading. A consistent problem I find is the harshness of the soprano part, which I think has two causes: one is Phillip's decision to transpose the music up in pitch (which he does often) - the effect is to put stress on the soprano part. But I've heard the Tallis Scholars perform live and the lack of balance didn't seem to be a problem, so I think the harshness comes from the recording itself and not their singing. But it is important to remember that the Tallis Scholars consistently are pioneers in what they record: often their discs are the first recordings of a particular piece or the work of a certain composer and almost invariably result in imitation by other groups. So despite nagging (to me at least) problems with their singing and interpretation this disc still has a great deal of value. It is the only source for a collection of Lobo's music brought together in one place. The Tallis Scholars never fail to bring professionality and musical knowledge to what they sing (althought at points they leave musicality behind) - despite my complaints, though, I admit that it is hard to go wrong with this group. This recording is definitely a good choice...

inventive music of the spanish renaissance.......2000-06-02

This is a recording of music by Alonso Lobo; not to be mistaken for Duarte Lobo. Alonso Lobo was the pupil of Francisco Guerrero, one of the most famous composers of the Spanish renaissance.

This disc features Lobo's Missa Maria Magdalene; which was modeled after Guerrero's Motet about Mary Magdalene (also included). The motet and mass are both very compelling and beautiful.

Guerrero's motet itself is enchanting in its sheer beauty. Male and female voices interplay in recounting Mary's anointing of Jesus' feet as well as the discovery of the empty tomb.

The mass setting reveals both Lobo's inventiveness and the artistry of the Tallis Scholars. The Kyrie is particularly interesting. It starts out sounding as if it were sung by a self-consciously cute child that has been caught with their hand in the cookie jar and is trying to con their way out of trouble. From there, it then becomes to a more somber plea for forgiveness and mercy.

The Mass is followed by several motets composed by Lobo. My personal favorite of them is Ave regina caelorum, which features some beautiful singing on the part of the sopranos.

Customer Reviews:

Very Enjoyable Issue........2006-01-01

'Music for Holy Week at the Chapel of the Dukes of Braganza, c1735' is liturgical music done in Latin by A Capella Portuguesa. While I am very fond of both liturgical choral music and 'early music', I clearly do not have the technical experience of the other reviewer for this piece. I can only give my visceral reaction that compared to many similar works I have heard, this is near the top of the list in historical interest and performance quality. After reading the other review, I confess I did sense a certain flatness in the sound which encourages me to look up the other recording which may be a lot better.

At any rate, I was not disappointed with this recording and it is a regular item on my Eastertime listening.

A mild letdown compared to its companion volume.......2004-09-28

As almost always with Hyperion, so with this issue: we have a splendidly enterprising choice of repertory (good luck trying to find any alternative recordings of any composers represented here, except of course Palestrina and Victoria), high performance standards, and obvious musicological expertise in the booklet notes. Yet the result is a mild letdown compared with the companion volume, MUSIC FROM RENAISSANCE COIMBRA (CDA66735).

The main problem is that something went badly wrong with balances. Various polyphonic lines in these pieces have been assigned - as customarily happened in Iberian performances of sacred compositions during the 16th and 17th centuries - to instruments: in this case, organ and harp. Clearly Owen Rees and his very gifted forces wanted the non-vocal contributions, however tactful, to be heard without effort. Unfortunately they can't be, even when straining your headphone-wearing ears to the utmost (and as for trying to detect more than the occasional glint of organ or harp tone through speakers, forget it). You need to consult the booklet in order to determine whether the instrumentalists are playing at all. Why? Inept microphone placements? Bizarre post-production whims? Given Hyperion's normally purist approach to recorded sound, the former seems more probable than the latter. Whatever the cause, it mars an otherwise commendable record.

Track Listings:

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