The large
Palestrina
series undertaken by
The Sixteen
and its director,
Harry Christophers
, is useful; few of the pieces are receiving world premieres, but a systematic exploration of a substantial body of
's music is not so common. He tends to be known for a relatively small number of hits. Moreover, it is heartening somehow;
have undertaken increasingly adventurous programming, but here, they return to their roots in 16th century sacred polyphony. Here,
are actually "The Twenty" for much of the program. The performances are all to a high standard, and the sonic environment of St. Augustine's Church, Kilburn, London, is ideal, which leaves the music itself. It is a bit atypical for
, which might not commend the album to series newcomers, but which may well fascinate those deeply engaged with
. The opening work, and really the centerpiece, is the
Missa ut re mi fa sol la
, otherwise known as the
Hexachord Mass
. This is a cantus firmus mass, an old-fashioned form by
's time, and the cantus firmus, a six-note rising scale, was one cultivated by many other composers as an exercise or a kind of tradition. It is music in which the "bones" are unusually exposed for
. Sample the Benedictus for an idea. There are also motets, many of them on the subjects of St. John the Baptist and St. John the Evangelist, and there is a lovely trio of settings from the Song of Songs. Beautifully executed as usual, this is a release that exposes new sides of
's music. ~ James Manheim