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COMPOSERTALLIS BYRD DE MONTE CARDOS
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PERFORMERO., Contrapunctus, Rees
Libera Nos - The Cry Of The Oppressed / Rees, Contrapunctus
- Signum Classics
- August 27, 2013
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RELEASE DATEAugust 27, 2013
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UPC635212033821
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CATALOG NUMBERSIGCD338
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LABELSignum Classics
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NUMBER OF DISCS1
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GENRE
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Liber primus sacrarum cantionum (Cantiones sacrae): Civitas sancti tui
Composer: William Byrd
Ensemble: Contrapunctus
Conductor: Owen Rees
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Libera
Composer: Thomas Tallis
Ensemble: Contrapunctus
Conductor: Owen Rees
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Super flumina Babylonis
Composer: Philippe de Monte
Ensemble: Contrapunctus
Conductor: Owen Rees
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Quomodo cantabimus?
Composer: William Byrd
Ensemble: Contrapunctus
Conductor: Owen Rees
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Sitivit anima mea
Composer: Manuel Cardoso
Ensemble: Contrapunctus
Conductor: Owen Rees
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Laboravi in gemitu meo
Composer: Martin Peerson
Ensemble: Contrapunctus
Conductor: Owen Rees
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Liber secundus sacrarum cantionum (Cantiones sacrae): Miserere mei, Deus
Composer: William Byrd
Ensemble: Contrapunctus
Conductor: Owen Rees
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Lachrimans sitivit anima mea
Composer: Pedro de Cristo
Ensemble: Contrapunctus
Conductor: Owen Rees
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Gradualia, Book 1: Plorans ploravit
Composer: William Byrd
Ensemble: Contrapunctus
Conductor: Owen Rees
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In jejunio et fletu
Composer: Thomas Tallis
Ensemble: Contrapunctus
Conductor: Owen Rees
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Salvator mundi
Composer: Thomas Tallis
Ensemble: Contrapunctus
Conductor: Owen Rees
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Inter vestibulum
Composer: Pedro de Cristo
Ensemble: Contrapunctus
Conductor: Owen Rees
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Liber secundus sacrarum cantionum (Cantiones sacrae): Infelix ego
Composer: William Byrd
Ensemble: Contrapunctus
Conductor: Owen Rees
Featuring โ
Product Details โ
Works โ
This recording explores the musical 'cries of the oppressed' from opposite ends of Europe, which include some of the most powerful works composed in England and Portugal during this period by Byrd, Tallis, de Monte and Cardoso. The highlight perhaps is the first recording of a newly reconstructed vocal work by Thomas Tallis, 'Libera nos'. This has long been thought to be an instrumental work, and has been recorded as such, but there's persuasive historical evidence for us to be confident that this is in fact a choral setting of the antiphon 'Libera nos', and it is performed here with the relevant text restored to the five vocal parts.
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