GOMBERT: Motets, Chansons

Bisson, Noel, Capella Alamire, Urquhart, Peter, Woodman Consort of Viols

8.570180

Perhaps a pupil of Josquin, Gombert served for much of his life in the musical establishment of the Emperor Charles V. He was among the leading composers of the generation between Josquin and Palestrina, demonstrating a complete command of the techniques and musical idioms of the period in his liturgical settings and in his secular chansons, both of which are represented here.

On this recording the Capella is performing three different kinds of works by Gombert: sacred works in Latin with a clear liturgical purpose and musical foundation, sacred works without a clear liturgical connection, and secular works with French text. Despite the evident differences in purpose and compositional models, Gombert's style maintains a remarkable consistency throughout. The motet Salve regina and the Magnificat quarti toni are both chant-based works; in these "alternatim" works, the polyphonic setting by Gombert alternates with verses of the plainchant upon which it is based. In the Salve regina, one voice of the four tends to carry the original chant melody, which is also heard unadorned in between the polyphonic sections created by the composer. Most often that voice is the tenor or the superius, a continuation of the old cantus firmus tradition that was Gombert's heritage. In most of the composer's music, however, the imitation is so all-pervading that this structural voice is completely obscured. All four voices partake of the original melody, which, although not presented clearly in any one voice, appears to be present in all of them. Chant-based works were probably liturgical in purpose, and represent an elaboration of the liturgical text and melody for important events performed at a royal or imperial chapel.

CD x 1

Naxos

5.01.2009

747313018079