Tomás Luis de Victoria (1548-1611): Regina caeli laetare a 8

De Victoria’s eight-part (SATB SATB) setting of the Marian antiphon Regina caeli laetare has a distinctly celebratory character it was intended to be sung at Vespers and Compline from  Easter  Sunday to  the  week  after  after Pentecost. I don’t know when it was composed but I think it must be from his Roman period when…

Peter Philips (1560-1628): Ave Regina cælorum

Peter Philips’ setting of the Marian antiphon Ave Regina cælorum (Hail, Queen of heaven) was published in his Cantiones Sacræ of 1612. It’s a five-part (SSATB) setting very much in the new Roman style. The five-voice structure meant that he could vary the texture at will to reflect words or phrases in his text coupled…

Manuel Cardoso (1566-1650): Missa Miserere mihi Domine

Miserere mihi, Domine, et exaudi orationem meam. Have mercy upon me, O Lord, and hearken unto my prayer. The  penitential chant Miserere mihi, Domine is the Psalm antiphon for Sunday Compline, Cardoso set this Mass using it as the Cantus Firmus. As with other Portugese sacred polyphony from the first half of the seventeenth century…

Thomas Tallis (±1505-1585): Miserere nostri, Domine

The phrase "Miserere nostri, Domine" (Have mercy on us Lord) appears twice in the Liturgy once as  the third verse of psalm 122 and again as the second last verse of the Te Deum. The phrase itself is an alternative form of the more familiar Miserere nobis found in the ordinary of the Mass. It’s…