Palestrina - Motet and Mass Assumpta est Maria in caelum / Motet and Mass Sicut

"The recording is well handled and adds powerfully to these flexible, expressive and beautiful readings"
Gramophone September 1990

The two masses on this recording contrast quite different sides of Palestrina's compositional style. Missa Assumpta est Maria is a positive, bright, outgoing work, while Missa Sicut lilium is contemplative, intimate, at times sensuous.

GRAMOPHONE EARLY MUSIC AWARD 1991

"here it is on this new version from The Tallis Scholars—their fifth recording of Palestrina masses—together with another parody mass, the Sicut lilium with its corresponding motet. It is indeed illuminating to hear how the larger-scale compositions unfold with reference to the original motets: close study, of course, would reveal much about the compositional processes of the High Renaissance, but any listener will be able to appreciate the organic relationship between motet and Mass. In addition, Peter Phillips has here deliberately paired two sharply contrasted parody Masses: Assumpta est Maria, the better known, is thought to be one of Palestrina's last masses, while Sicut lilium dates from relatively early in his career. The former, with its major tonality and divisi high voices (SSATTB), is marvellously bright and open and is given a correspondingly outgoing performance, while the latter, inflected with chromaticism and melodic intervals that constantly fall back on themselves, is darker-hued and more plaintive, a mood well captured here in the intensity of the singing." (Gramophone)