Search - Johannes Prioris, Ensemble Daedalus :: Johannes Prioris: Requiem; Missa super "Allez Regrets"

(1460? - 1512?)

Giordano Bruno | Wherever I am, I am. | 04/19/2010

(5 out of 5 stars)

"The uncertainty about the lifespan of Johannes Prioris is merely the beginning of what we don't know about the man. We're not certain of his origin or traning. We can't swear that he is the same man who served with Ockeghem in the Rpyal Chapelle of Louis XII, and if he was, whether he was also the organist on the ledgers of the Vatican as early as 1491. And a "Prioris" is mentioned among the greatest masters of Franco-Flemish polyphony, right beside Josquin, in the texts of two memorial motets, notably in the superb "Mater floreat florescat" by Pierre Moulu from the Medici Codex. He is described there as 'delightful' and 'gentle,' attributes that certainly fit the small volume of his music that has survived: four masses, 14 motets, a score of chansons, 8 magnificats, and the Requiem recorded here, the second known requiem mass in musical history after Ockeghem's. Both compositions on this CD survive in single sources. What is certain is that Johannes Prioris was a thorough master of the musical language of his lifetime, bold yet suave in his modal coloration, poignantly affective in his melodic expression, a 'progressive' composer in his commitment to richly harmonized homophony well in advance of Gombert or di Lasso. The notes that accompany this CD, written by Roberto Festa, are wonderfullu intriguing.



If Ensemble Daedalus has a musical weakness, it's of voices that are almost too good. That is, soprano Monica Mauch and baritone Josep Cabré have such rich and distinctive timbres that they dominate the ensemble from the top and bottom. The three tenors and one alto sing with great skill and subtlety but their musical identities are somewhat overshadowed by Mauch and Cabré. This is such a minor cavil that I probably shouldn't mention it, except for the fact that music of the Franco-Flemish school was still structured around the "tenor" -- not the high male voice, that is, but rather the inner line that 'maintained' the fundament of the composition. In every other sense, Daedalus is a 'perfect gentle' model of polyphonic singing. Tuning is exquisite, rhythms are supple and independent, and above all the "apollonian" meditative tranquillity of the music is delivered without a trace of effort or ostentation.



If you appreciate the polyphony of Josquin, La Rue, Obrecht, and Brumel, you'll find just enough distinction of style in the music recorded here to be exciting and enjoyable. Whoever Johannes prioris was, he has his own voice. I note that Ensemble Daedalus, by the way, is soon to issue a CD of music by Pierre Moulu, mentioned above; you can be sure that I'll review that release as soon as I get an advance copy."