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Product details
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Track Listings
| 1. Beata es virgo Maria |
| 2. O magnum mysterium |
| 3. Magi viderunt stellam |
| 4. Versa est in luctum |
| 5. Pueri Hebræorum |
| 6. O vos omnes |
| 7. Vadam et circuibo |
| 8. Surrexit pastor bonus |
| 9. Senex puerum portabat (instrumental) |
| 10. Ave, Regina cœlorum à8 |
| 11. Ave Maria à4 |
| 12. Ave, Regina cœlorum à5 |
| 13. Ave Maria à8 |
| 14. Ne timeas Maria |
| 15. Senex puerum portabat (vocal) |
| 16. O Ildephonse |
| 17. Sancta Maria, succurre miseris (solo) |
| 18. Sancta Maria, succurre miseris (tutti) |
On this CD:
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O magnum mysterium
Composed by Tomás Luis de Victoria
with A AaaUnspecified
-
Versa est in luctum
Composed by Tomás Luis de Victoria
with A AaaUnspecified
-
Pueri hebraeorum vestimenta
Composed by Tomás Luis de Victoria
with A AaaUnspecified
-
Ave regina coelorum
Composed by Tomás Luis de Victoria
with A AaaUnspecified
-
Ne timeas, Maria
Composed by Tomás Luis de Victoria
with A AaaUnspecified
-
Senex puerum portabat
Composed by Tomás Luis de Victoria
with A AaaUnspecified
-
Ave regina coelorum
Composed by Tomás Luis de Victoria
with Victoria Voices and Viols
Conducted by Andrew Hope
-
Vadam, et circumibo civitatem
Composed by Tomás Luis de Victoria
with Victoria Voices and Viols
Conducted by Andrew Hope
-
Pueri hebraeorum vestimenta
Composed by Tomás Luis de Victoria
with Victoria Voices and Viols
Conducted by Andrew Hope
-
Versa est in luctum
Composed by Tomás Luis de Victoria
with Victoria Voices and Viols
Conducted by Andrew Hope
-
O magnum mysterium
Composed by Tomás Luis de Victoria
with Victoria Voices and Viols
Conducted by Andrew Hope
Product Description
Album Description
The motets of Tomas Luis de Victoria are justly regarded as masterpieces of the late Renaissance. The music on this album covers pieces written for performance between Christmas and Easter.
From the Artist
I receive great pleasure in the release of this album of motets by VVV. It is the culmination of many years work, without financial support, performing concerts in the UK. We have developed an unique approach to the performance of late-Renaissance polyphony. The use of low-voice textures is based on the conceived pitch of the compositions. The addition to voices of instuments (viols, harp and theorbo), and sometimes replacing them, represents some of the 'blessed variety' known to occur in performance practice in Roman churches of the 16th and 17th centuries, where and when these works were first published. Some conservative listeners may find the sound too disimilar from that of the English Choral Tradition that they are familiar with. However, most will find it a refreshing alternative. It is my hope that this recording will rouse a new era of radical innovation in the early-music movement.
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