Search - Jonathan Arnold, Charles Gibbs, Cesare Bendinelli :: The Marriage of England and Spain

About this CD (Informational)

Slobberer | Astoria, NY United States | 10/24/2008

(5 out of 5 stars)

"The Marriage of England and Spain



JOHN TAVERNER, CRISTOBAL DE MORALES, ANTONIO DE CABEZON, NICOLAS GOMBERT, CLAUDIN DE SERMISY, CESARE BENDINELLI, PHILIP AP RHYS



Richard Cheetham (conductor)



Orchestra of the Renaissance



Carys Lane, William Missin, Simon Berridge, Tom Phillips, Jonathan Arnold, Charles Gibbs



Glossa Platinum GCD P31401

2003 - 78:24 min



1 Bendinelli: Levet

2 Morales: Jubilate Deo omnis terra

3 Plainchant: Introitus

4 Ap Rhys: Kyrie

5 Taverner: Gloria, Missa Gloria tibi Trinitas

6 Plainchant: Graduale

7 Sequentia

8 Taverner: Credo, Missa Gloria tibi Trinitas

9 Plainchant: Prefatio

10 Taverner: Sanctus, Missa Gloria tibi Trinitas

11 Cabezón: La dama le demanda

12 Morales: Pater noster

13 Taverner: Agnus Dei, Missa Gloria tibi Trinitas

14 Plainchant: Communio

15 Morales: O sacrum convivium

16 Plainchant: Postcommunio

17 Bendinelli: Levet

18 Gombert: Jouissance vous donnerai

19 Sermisy: Tant que vivray









From Goldberg

Several recent recordings have been issued for the anniversary of the death of Philip II of Spain. This program attempts to reconstruct the Mass for the wedding of Philip to Mary Tudor on July 25, 1554 at Winchester Cathedral. While the performing forces for the occasion are known, the music that was sung is not. Richard Cheetham makes some educated guesses, choosing Taverner's Missa Gloria tibi Trinitas. Though it was the feast of St. James, the Trinity Mass was customary for English royal weddings. To elevate Philip to a rank equal to the queen of England, Philip's father (still king of Spain) gave him the kingdom of Naples on this occasion. (Cheetham writes that the wedding united England and Spain. Why did he not write that it united England and Naples?)

The Mass Propers of the Trinity are sung according to the Sarum rite, while additional music is taken from likely Spanish sources. Cheetham suggests that this use of an instrumental ensemble for the first time in an English cathedral changed the style of music in England. This is illustrated by the instrumental accompaniment for Taverner's Mass. The music for this occasion must have appealed to Mary, for she was a first cousin of Philip's father. For 16 years Mary's mother Catherine lived at the court of her parents, Ferdinand and Isabella.



This disc brilliantly evokes the occasion of the royal marriage. The singing and playing are exquisite. JEROME F. WEBER

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