The Missa Papae Marcelli by Giovanni Pierluigi da Palestrina is a crossroads of historical and musical doubts and paradoxes. After all, legends such as these are always nourished first in the shadows of history, in the ambiguous folds of testimonies; enigma is the birthplace of creative fantasy, spurring the collective imagination in its constant aspiration to embody mythical forms. Palestrina himself was probably the first to consciously set the stage for the creation of the myth which would surround him and his work. Already with his earliest publication, the Liber primus missarum of 1554, the entire enterprise seemed fueled by a desire for majesty and success, from the large format of the volume to the meticulously prepared graphics, from the dedication to a great ecclesiastical personage (Pope Julius III) to - last but not least - the musical contents: Masses of contrapuntal and formal perfection, exemplifying a masterful use of all the important compositional techniques of the time. Marco Della Sciucca, from the liner notes Some of the best Italian male voices, specialists in the performance of Renaissance and Baroque music, sing in Odhecaton under the direction of Paolo Da Col. Since its beginning in 1998, Odhecaton has been the recipient of some of the most prestigious discographic awards: "De Passione" (Josquin Desprez) was awarded the Diapason d'Or of the Year 2003, while the more recent "O gente brunette" (Ramee) took the Diapason d'Or of February 2010 ?A landmark recording. Odhectaton is making their debut on Arcana with the Missa Papae Marcelli of Giovanni Pierluigi da Palestrina, a recording sure to become a point of reference for this sacred masterwork. ?How and where. For the first time in recording history, Odhecaton has recreated as much as possible a hypothetical performance by the pontifical chapel at the time of Pope Marcellus II. ? Performance forces. With an ensemble of about twenty singers, Odhecaton comes close to the formation of the pontifical chapel which, between 1510 and 1585, numbered between twenty and thirty-six singers. ? Only men allowed. Odhecaton excludes soprano and treble voices, extraneous to the pontifical chapel in the second half of the sixteenth century, and employs only adult male voices: basses, baritones, tenors and countertenors. ? Palestrina made in Italy. Until now the discography of the Missa Papae Marcelli has been dominated by British ensembles and choirs, inclined to emphasize the balanced purity of the vocal lines, the ethereal side of Palestrina. Odhecaton instead highlights the Mediterranean qualities of his vocal style. ? The liturgical context. The performance places the Missa Papae Marcelli in a liturgical context which emphasizes its original function, reconstructing a hypothetical liturgy (the Easter Mass) with music as it might have been celebrated at the Sistine Chapel.

Palestrina: Missa Papae Marcelli

The Sixteen continues it's acclaimed series of discs exploring the work of Italian Renaissance master, Giovanni Pierluigi da Palestrina. An enormous body of sacred works, including over 100 Masses, rightly earned Palestrina the title of 'the prince and father of music' and 'the saviour of church music'. His legacy has impacted sacred music worldwide for over 400 years and composers throughout the centuries have studied and learned from his gift of writing exquisite polyphony. Central to this sixth disc is Palestrina's unjustly neglected 5-voice L'Homme arm� Mass. Written before 1570, it is no mere technical showpiece, but contains music of the highest quality. It is accompanied on this disc by a group of penitential and devotional motets and Offertories on well known texts such as Parce mihi Domine, Si ambulavero in medio tribulationis, Tribulationes civitatem, de profundis, and Super flumina Babylonis, eliciting from Palestrina his best and most moving music. Three further Song of Songs motets in the Sixteen's ongoing complete survey complete the CD.

PALESTRINA: Missa de Beata Virgine

Mid-16th century: Catholic Church music is threatened by a pandemic. All too worldly, artificial things had crept into sacred chanting to such an extent that the famous Council of Trent even wanted to reduce singing in the mass to the monophonic Gregorian chant again. As the Fama tells us, Palestrina saved polyphonic church music from this crisis with his Missa Papae Marcelli. In a live recording, beauty farm sings this legendary work, which raises complex questions of interpretation and juxtaposes the mass with well- known hymns in the chorale. frabernardo dedicates the album to Bruno Turner, who once set standards in early music with the ensemble Pro Cantione Antiqua, for his 90th birthday.

"The trick to mastering counterpoint lies in mastering it completely...herein lies the glory of this magnificent, essential release. The balance of seriousness with humanity comes through as much as the balanced voices...Patterson clearly has genius in selecting just the right tempos and dynamics...serious, winning, and convincing. If we have ever had a finer Palestrina recording available, I've not heard it."
—Heuwell Tircuit, In Tune Magazine

"They [Gloriae Dei Cantores]have demonstrated a polished musicality, combined with a versatile command of a wide-ranging repertoire of literature and styles...the richness and sonority is almost hypnotically beautiful. Palestrina was, after all, one of the great composers of music for grouped human voices, and there is no reason why we should not enjoy such luscious, expansive (yet stylistically sensitive) realizations of his music. Good notes; full texts and English translations. Alike to the Palestrina collector or the lover of wonderful choral sound, this release is warmly recommended."
—John W. Barker, American Record Guide