Tuesday, 12 May 1998 at 8pm
Xavier College Chapel, Kew
Subscription Concert 2
PROGRAM
Jacob Obrecht Mille quingentis
Johannes Martini Salve regina
Josquin Desprez Virgo salutiferi
Josquin Desprez Missa Hercules Dux Ferrarie
Josquin Desprez Huc me sydereo
Jacob Obrecht Quis numerare queat
Josquin Desprez Miserere mei, Deus
| SOPRANO | ALTO | TENOR | BASS |
| Deborah Summerbell | Helena Simpson | Peter Neustupny | Philip Nicholls |
| Carol Veldhoven | Jennifer Mathers | Stuart Tennant | Tom Henry |
| Maria Pisani | Margaret Arnold | Philip Legge | Thomas Drent |
| Helen Gagliano | Barbara Tattam | ||
–
REVIEW
[nd] May 1998, The Age [Melbourne], [np].
A vocal vista on Italy
Joel Crotty
Ensemble Gombert, under the direction of John O’Donnell, continued their “Italian Year” with a thoughtful
program of music at the Court of Ercole I of Ferrera.
Unlike their previous concert of heavy-going Gesualdo, this event was broader in scope and focused on the
talents of Martini, Obrecht and Josquin Desprez. At various times between 1473 and 1505, these
Franco-Flemish composers served Ferrera’s royal household and their efforts helped the town flourish as a
centre for cultural activity.
In their own professional way, Ensemble Gombert was able to open a window on an Italian vista, revealing
historical perfection in musical craftsmanship and felicitousness in contemporary performance.
While the pieces by Martini and Obrecht proved interesting, they were merely interludes to the mighty power
of Josquin. Four of his works were presented at this concert – Virgo salutiferi, Missa Hercules Dux Ferrarie,
Huc me sydereo descendere iussit Olympo and Miserere mei, Deus.
All these pieces are mammoth undertakings for any choir, as Josquin demands the most minute detail be
given as much acknowledgment as the super-structures. It was only in the Virgo salutiferi that the choristers
presented a few moments of uneven presentation.
Conversely, the miserere was wonderfully outlined. Even though some vocal lethargy was starting to appear
in this finale item, it did not particularly inhibit their soulful understanding of the dramatic content which
Josquin had set in place. We followed in awe as the choir journeyed through the octave on the words “Have
mercy upon me, O God”.
This phrase divided or sub-divided the text and provided graphic repetition, which O’Donnell insisted be
delivered with controlled reverence.
Although Josquin was at his expressive best in the motet form, he was still able to deliver emotionally-laden
emphases in the structurally-centred mass. He lived during at time when there seemed to be a free-for-all in
stylistic experiment, and at the forefront of which was Josquin.
His Missa Hercules is an example of throwing caution to the wind, in as much as he composed his own
cantus firmus, thereby declining the time-honored tradition of borrowing pre-existing material.
It is possible he wrote the mass long before he was employed by the Duke, and as such it could be argued that
he was trying to impress the Court with his credentials. While this is speculative, other aspects appear more
certain, such as the near perfect performance of this mass by the Gomberts.
They produced great clarity, even in the most contrapuntal moments, and coupled this with balance and
restraint. Yet the careful projection of definition did not at any stage inhibit choral color, which was
absolutely radiant, not only in the mass but throughout the concert.
It was pleasing to see the return of program notes, which failed to materialise at their last event. O’Donnell
strives for excellence in musicianship which is underpinned by scholarly research. This mixture of vocal
poise and academic purpose has made the group one of the leading choirs in Melbourne, and if they could
tour widely they could rightly claim to be a national treasure.
Joel Crotty/Courtesy of The Age