Bayan Northcott (born 1940): Salve Regina

Bayan Northcott was born in Harrow on the Hill north west London in 1940 he read English at Oxford receiving a BA in 1962 and then worked as an English teacher for six years between 1964 and 1970. Musically self-taught he went to the University of Southampton where he studied composition under Alexander Goehr and…

Alonso Lobo (1555-1617): Ave Maria

Lobo’s eight-part setting of the Marian antiphon Ave Maria is one of seven motets that he published in 1602 while employed at Toledo Cathedral. It’s an astounding piece of music that’s based on a scheme of complex 8-in-4 canonical writing in which the lower voices of two SATB choirs sing the same music but the…

Cristóbal de Morales (±1500 –1553): Regina caeli

Like most of his Cristóbal de Morales’ motets his setting of the Marian antiphon Regina caeli  is a five-part setting. It probably dates from fairly late on in his career and in one way is fairly conventional in that it quotes the chant fairly heavily. Conventional? I’d prefer to say that it’s a great example…

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…

Felice Anerio (±1560-1614): Regina caeli laetare (a8)

Anerio’s eight part setting of this Marian Antiphons is a perfect example why his contemporaries considered him to be a worthy successor to Palestrina as official Papal composer. It combines beautiful flowing polyphony combined with homophonic passages and shifts in timing. As you might expect from Palestrina’s successor the textual clarity is impeccable throughout. Enjoy…

Francisco de Peñalosa (±1470-1528): Sancta Maria

Francisco de Peñalosa’s setting of the Magnificat Antiphon for First Vespers on Feasts of the Blessed Virgin Mary is quite typical of his motets in that it’s entirely free of borrowed material and is very concerned  expressing the text this very humanist approach represented a decisive break with the past and Peñalosa exploited the compositional…

Matthaeus Pipelare ( ±1450 — ±1515): Salve Regina

Pipelare’s setting of the Salve is an alternatim setting in which only the even-numbered verses are set. I think it must be a relatively early work because of its rhythmic use of syncopated short notes it’s a surprisingly varied setting that makes use of the old-fashioned technique of varying dense imitative writing with multipart passages.…

Inviolata, integra, et casta es Maria – Kantorei of Kansas City

The KSCI Concert Chorale directed by guest clinician, Dr. Ryan Board of Pepperdine University. Cathedral of the Immaculate Conception, KC MO. Chant, transcribed by Dr. Board. This eleventh century plainchant sequence for the Ladymass dealing with Mary’s immaculate person was particularly popular  with sixteenth century composers amongst them Josquin and Gombert. I’ve added the text…

Orlande de Lassus (±1530-1594): Magnificat tertii toni

This is the earlier of two settings of the Magnificat that de Lassus is known to have composed, he composed it early in the 1560s and published it in Nuremberg in 1567 . It’s an alternatim setting which combines the third mode plainchant Magnificat with four-part polyphonic settings of the verses which themselves are based…

Manoel de Oliveira (1735-1813): Magnificat

The Brazilian composer Manoel de Oliveira was clearly an amazingly versatile composer who composed a considerable number of works in various styles. Manoel (Manuel) Dias de Oliveira was born in 1735 the son of organist Dias Lourenco de Oliveira and a slave, he never left the region of Minas Gerais where he was born. He…