Felice Anerio (±1560-1614): Stabat Mater A12

From about 1610 a spirit of triumphalism could be heard in much of the music heard in the Sistine Chapel. There was a trend towards the use of massive vocal forces such as the Masse and Motets scored double and triple choirs (including basso continuo) composed by Vincenzo Ugolini, (1580 – 1638), maestro di capella…

Heinrich Suso (ca. 1295-1366): In Dulci Jubilo

Henrich Suso (or Seuse) was a German Dominican monk and mystic and follower of Eckhart whose writings both in German and Latin translation were widely read throughout Germany during the second half of the fourteenth and in the fifteenth century. Nowadays he’s mostly remembered for his macaronic carol ‘In Dulci Jubilo’ the story goes that…

Francisco Guerrero (1528-1599): Lauda mater ecclesia – YouTube

Guerrero, along with other Spanish composers such as Andrés de Torrentes, Juan Navarro and Juan Esquivel wrote a setting of ‘Lauda mater ecclesia’ for the Feast of St Mary Magdalen (July 22nd). Guerrero’s setting is almost dance-like in its use of the Spanish triple time rythmn called ‘sesquialtera’, (you’ll sometimes see this called ‘tiempo de…

Feature: John Taverner (±1490-1545): Leroy Kyrie

The name of Taverner’s setting of the Kyrie known as the ‘Leroy Kyrie‘ which you’ll also see written as ‘Kyrie Le Roy ‘ is generally believed to a reference to ‘Roy Henry‘, either Henry IV or – more likely, Henry V to whom some musical works are attributed in the Old Hall Manuscript. Simply by…

John Taverner (c1490-1545): Missa Mater Christi sanctissima

Taverner starts each movement of his Missa Mater Christi sanctissima with opening of his  antiphon "Mater Christi sanctissima" about which I wrote yesterday. It’s a very direct and up-beat setting that celebrates its subject. It’ also a later work which means it’s far less florid than his youthful compositions. Enjoy :-). markfromireland

John Taverner (c1490-1545): Magnificat a 4 Nesciens Mater

Taverner composed three Magnificats, one each for four, five and six voices, of which only the four-voice setting survives complete. It’s a little unusual for English polyphony of the time because Taverner used the plainsong without embellishment rather than using the ‘faburden’. It’s an alternatim setting in which plainsong and polyphony alternate. Its long textual…

Tomás Luis de Victoria (1548-1611): Veni Creator Spiritus

Victoria set many hymns amongst them this four-part (SATB) setting of the Office hymn for Pentecost ‘Veni creator spiritus‘ which literally translates as ‘Come creator spirit’ but is often translated as ‘Come, Holy Ghost, Creator, come’. Listening to it may be the cause of some surprise amongst those who associate Victoria only with the austere…

Richard Davy (±1465-1538): Stabat Mater

Richard Davy is one of the most important composers represented in the Eton Choirbook where no less than nine compositions by him are to be found. It’s thought that he came from Devon but of his early life nothing is known. The first reliable record of him is as a scholar at Magdalen College, Oxford…