Tomás Luis de Victoria was the greatest composer of the Spanish sixteenth-century ‘golden age’ of polyphonic music. This recording is of the six-voice Missa Dum complerentur, the five-part motet on which the Mass is based, and six further hymns and sequences including the great Popule meus, a setting of the Improperia (Reproaches) which form the heart of the liturgy for Good Friday. This is music of compelling beauty, which illustrates well Victoria’s extraordinary capacity to create through simple homophony extremely moving music of great expressiveness.
"As our awards enter their fourth decade, we've paused and looked back over the first 30 years. It's gratifying to see how many of the recordings singled out for the prestigious Record of the Year have gone on to become classics of the catalogue. (…) Then there are the discs that shaped careers - violinists Nigel Kennedy (in Elgar) and Maxim Vengerov (in Prokofiev and Shostakovich) - to which you might add The Tallis Scholars' stunning disc of Masses by Josquin Desprez, a disc that elevated Early Music to the "mainstream". ~Grammophone
The second son of Martín García de Anchieta and Urtayzaga de Loyola, who was a great-aunt of the future saint, Ignatius Loyola, founder of the Society of Jesus, members of a leading family in the Basque country, Juan de Anchieta was born in 1462 near Azpeitia in Guipúzcoa in the Iraurgui valley. Although there is no information about his formative years, it is possible that he served as a chorister in the chapel of Henry IV of Castile and perhaps studied at Salamanca University, where Diego de Fermoselle, an elder brother of Juan del Encina, taught. In 1489 he was appointed as a singer in the Court Chapel of Queen Isabella the Catholic, with a salary of 20,000 maravedís, increased in 1493 to 30,000 maravedís. In 1495 he was appointed maestro di capilla to the Prince Don Juan. After the death of the Prince in 1497 he returned to the service of the Queen, to be ……
En el álbum "México Barroco-Puebla III", del sello Urtext se estrena la Missa sobre el Beatus Vir de Fray Xacinto", de Fabián Ximeno Pérez, una de las joyas musicales del barroco en la Nueva España.
The Missa Ave Maris Stella, with its lyrically reverential mood and long duo and trio passages, is among Josquin Desprez's most popular masses, and the listener can choose from among recordings by top Renaissance a cappella vocal groups. This one by the Netherlands ensemble Cappella Pratensis presents itself as hyperauthentic. Backed by a booklet essay from Josquin specialist Jennifer Bloxam, the group purports to re-create the practices, discourse, and atmosphere that would have attended a performance of the mass in the papal chapel around the year 1500.
This superb disc of music by one of Spain's most talented early 16th century composers is exactly the sort of boost that the less well-known repertoire needs in its search for a place in today's CD collection. It is in every way a model of what a recording of Renaissance polyphony ought to be… The all male vocal ensemble sings with enormous conviction as well as firm control of rhythm and phrasing. Combining the voices with energetically played sackbuts produces a rich and dark-hued sound that feels authentically Spanish, and does full justice to this very fine music.