First of all, this is an excellent program. Although Obrecht's output shows less stylistic variety than that of some of his peers, and thus many of the mass cycles (which are by far his most substantial contribution) seem similar to others, these two stand out: The Missa Fortuna desperata may be Obrecht's "most characteristic" in that it seems to encapsulate so much of his mature technique & within the broad horizon of one of the dominant themes of the late medieval era, while the Missa Maria zart is his most extended (particularly linearly via sequences).
One might, for instance, compare the former to Josquin's later setting, which it apparently inspired: Josquin presents more textual subtlety & symbolic erudition, but also doesn't have Obrecht's sheer sonic brilliance.... (The secular songs are also a welcome addition to the program, and serve to animate the mass performances right from the start. These are short opening tracks, however.)
The interpretation itself is especially outstanding, perhaps the strongest & most coherent yet for this broader repertory: There is not only an amazing sense of gravity (in what is, after all, religious music), but amazing momentum & clarity. And the four voices are audible individually, yet combine into a greater whole. (The latter is more developed than previously for this ensemble, which nonetheless retains its remarkable attention to tuning & other details.) This is ecstatic music, presented as compellingly as I've ever heard it. In short, this is a remarkable performance of some very enjoyable music.
To renaissance sacred listTodd M. McComb Updated: 22 May 2019