I can think of no better introduction to the masters of Portuguese church music than this recording of Lobo's eight-part Requiem Mass, together with Magalhaes's five-part Missa dilectus meus. Lobo's Requiem conjures up the whole atmosphere of the stately obsequies of some great nobleman or cardinal. The Introit is a quiet statement of grave and dignified mourning; the singing is controlled and powerful, perfection of control being the keynote of this performance. There are, too, moments of intense drama, in the Offertory, for example, at the words ''sed signifer Sanctus Michael''; and also of magnificence, in the Sanctus, and of pathos in the Agnus Dei, with its false relations and occasional, unexpected, dissonances. The Missa dilectus meus shows off the high voices to perfection: they come across with amazing poignancy in the Crucifixus. The phrasing throughout is flexible and subtle and the vocal balance well adjusted. A noteworthy gem is the Benedictus, a gente, meditative piece for three solo voices. The Second Agnus Dei for six voices, incorporating a canon at the octave between soprano and tenor, provides a rich and, at the same time, austere finale. Two sumptuous funeral motets are appended, one by each composer.
One disappointment in this otherwise excellent performance and recording is the sadly missed opportunity of singing the chant according to the square notation of the period. There is really no excuse, for this notation is given in full in the modern performing editions. These sections could have had the same sombre splendour as the rest of the music if chanted in the style of the early seventeenth century.'