Vous qui differez la presence Benedicuts Calme mais sans lenteur Prelude After Vivaldi Et In Unum Dominum Lacrimosa Dies Illa Vous qui soumettez a vos lois Director Philip Pickett Christie - Gratias Asperges me hyssopo Choir of King's College Cambridge - Ireland: Judas mercator pessimus Magnum Nomen Domini Sonntag nach Trinitatis Sum In Medio Temp Chorus 'Donec ponam' Sinfonia Adagio - Vivace Vultum Tuum Deprecabuntur Ma Nadabbe Dov'e Hickox - Mass, Op.

Duett Tenor, Bass O quam tristis et afflicta Sicut Erat In Principio Credo in unum Deum - Patrem omnipotentem Duett Sopran - Bass Gloria - Qui tollis. Sostenuto - Andante con moto New London Consort - Anon: Carmina Burana 63 - Olim Sudor Herculis Stupneva - Izhe Heruvimy Wer Hat Dich So Geschlagen Markin - Ne Umolchim Nikogda, Bogorodice Josquin, des Prez, Add a review and share your thoughts with other readers.

Missa de beata virgine: No. 4. Sanctus Dominus Deus Sabaoth

Find a copy in the library Finding libraries that hold this item Share your thoughts with other customers. The E-mail Address es field is required. Et resurrexit from Missa In te domine speravi. Au fons d'enfer voire en plus grief tourment.

Category:CPDL xy - ChoralWiki

Cum sancto spiritu from Missa de Beata virgine. Missa Mijn herte altijt heeft verlanghen Gascongne. Ave sanctissime jesu christe fili dei. Vivray-je tousjours en telle paine.

Category:CPDL 051xy

Mijn hert altijt heeft verlanghen. Missa Mijn herte altijt heeft verlanghen.


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Langueur d'amour m'est survenue. Contre raison vous m'estes fort estrange. The feat is not quite as impressive as it seems as, over its 12 or so minutes, the Miserere essentially repeats the same music five times over, its sections divided by passages of plainchant.

No fewer than four of these come from the Tallis Scholars. Their pure-voiced soprano Alison Stamp soars sublimely and expressively not easy at that pitch above a solo quartet that is placed some distance from the microphones, giving that all-important degree of separation from the main choir — something a number of recordings surprisingly lack.

The balance of voices throughout is impeccable, while overall pacing is also deftly managed by conductor Peter Phillips — always appropriately self-reflective, but never lingeringly self-indulgent.


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Above all, it is a recording that is packed with atmosphere. Notice just how long the echo rings around the dome at the end of each section before conductor John Scott even dares to move things along — no wonder this comes in at around a minute longer than most other recordings. Nearly 50 years, but only a couple of hundred yards of river, separate the two recordings vying for the final place in my library.


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Despite the slightly cloudy recorded sound and occasional smudged choral entries, the latter just wins the day, not least because its age gives it a certain sense of occasion. Welcome, too, is the fact that the Miserere is sung here in English — why have so few choirs been tempted to follow suit? BBC Music Magazine digital editions.