Machaut's Mass is perhaps the most famous product of the late Middle Ages. It is the first complete setting of the Ordinary of the Mass ever produced by one composer. What is not clear is whether the work was just a collection of separate Mass movements that Machaut assembled for an occasion, or if they were originally intended to be performed together. Machaut uses a wide variety of polyphonic techniques in this work, from long melismatic textures to almost chordal writing. He ingeniously varied his given material, Gregorian chant which is placed in the lowest voice. Machaut shows a new concern for the combination of vocal textures that was not present in the works of earlier polyphonic composers. In a deeply felt performance, this work never fails to sound ancient, and surprisingly fresh, no matter what the approach taken by the ensemble.
The approach toward this work is what distinguishes the present disc from its competition. The best renditions that I own, the Taverner Consort on EMI and the Hilliard Ensemble on Harmonia Mundi take a very respectful and conservative approach to the score. There are differences between them in details, as source material in this work can vary wildly. But both sing exquisitely and with an ear for accurate just intonation. Both also take the work at a good clip, giving the piece a forward drive and rhythmic intensity that is wonderful to hear. This recording is nothing like them!
Peres approaches the work from almost as an ethnomusicologist. Vocal tone is nasal and throat and chest driven. It has the tone of an Arabic muezzin chanting the call for prayer. In addition, the score is used as a framework for extensive improvisatory ornamentation, often with scoops, vibratory ornament and microtonal inflections. The result is much closer to the sound of the choral music of the Caucasus, the singing in Orthodox Churches and most especially, the chants of Sufis in Moorish Spain. This concept can be justified I think in the historical literature and musicologically. Moorish influence on Western Europe cannot be doubted, particularly in architecture and in instrument development. Instruments that make their first appearance in the Middle Ages, like the lute and the viol almost certainly came into Europe via Spain and North Africa. The Arabic influence on education and the arts is widely acknowledged. Why should it not be the same in the field of music? I believe that Ensemble Organum makes an impressive case for the school of thought that believes in Islamic influence on the rise of polyphony in the west.
Of course, all of this would be moot if the CD were poorly executed. The good news is that this CD is a spectacular rendition of the Machaut work. Peres and company choose to present the piece in its greater liturgical context, alternating the polyphonic Ordinary with plainchant sections from a set of Marian Propers. The approach to the chant is similarly ornamented and microtonal. Setting the Mass in its context is not new, Andrew Parrott pioneered this in the 1980s. But in the present CD, the polyphony comes naturally out of the plainchant texture rather than sounding like the intrusion of a later age, as it can with a more traditional performance. Also, given the high emphasis on ornament, the work could sound like a fantasy on Machaut rather than an interpretation on the work. Comparative listens to a more conservative rendering indicate that Peres and Ensemble are fairly faithful to the original scaffolding. This is clearly Machaut's work, not the performers. But the rendering is a fascinating glimpse into what the composer may have actually intended with his groundbreaking work.
The sound of the CD may be difficult for those used to a more contemplative reading of the Mass like the Hilliard's. The vocal quality too will take some more traditional lovers of Medieval music back. But I find the spectacular ornamentation of moments like the In Terra Pax, which is breathtaking, to more than make up for any weaknesses in the disc. And the vocal quality is no stranger than that of the Bulgarian Woman's Choir. I would suggest however, that if you are not familiar with the Machaut Mass, that you get another recording, preferably the Taverner Consort or the Hilliard Ensemble in addition to this one. The comparative approach on this work is essential to understanding both the framework of the Machaut piece and the incredible power and freedom of the present recording.
Eastern Orthodox Church Music sounds a great deal like this recording does. It makes me wonder. Machaut was getting into some pretty heavy and complex stuff here. The voices act together in such a wonderful and neato way. Then on the long notes - oh boy, dem melismas is somethin' else. I wish Marcel Peres and company would record Siderunt Principes and Viderunt Omnes by Perotin. That would very nice to hear.
