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O Magnum Mysterium [Import]

Tomas Luis De Victoria Audio CD
5.0 out of 5 stars  See all reviews (3 customer reviews)
Price: CDN$ 20.53 & FREE Shipping on orders over CDN$ 25. Details
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1. Motet O Magnum Mysterium
2. Missa O Magnum Mysterium: Kyrie
3. Missa O Magnum Mysterium: Gloria
4. Missa O Magnum Mysterium: Credo
5. Missa O Magnum Mysterium: Sanctus
6. Missa O Magnum Mysterium: Benedictus
7. Missa O Magnum Mysterium: Agnus Dei
8. Motet Ascendens Christus In Altum
9. Missa Ascendens Christus In Altum: Kyrie
10. Missa Ascendens Christus In Altum: Gloria
11. Missa Ascendens Christus In Altum: Credo
12. Missa Ascendens Christus In Altum: Sanctus
13. Missa Ascendens Christus In Altum: Benedictus
14. Missa Ascendens Christus In Altum: Agnus Dei

Product Description

Product Description

Product Description

Motet "O magnum mysterium" - Missa "O magnum mysterium" - Motet "Ascendens Christus in altum" - Missa "Ascendens Christus in altum" / Chœur de la cathédrale de Westminster, dir. David Hill

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Most helpful customer reviews
5.0 out of 5 stars VICTORIOUS Jan. 30 2004
Format:Audio CD
Tomas Luis de Victoria was a Spanish priest, an acquaintance of Palestrina and Lassus. His personal style in his polyphonic masses and motets is a strongly marked one easily distinguished from those of his great contemporaries. Like Palestrina he favours relatively unbroken vocal lines and in general he also avoids the antiphonal effects adopted by the Flemish school of the period and earlier, Lassus and before Lassus Josquin. There the resemblance to Palestrina ends, for me at least. There is a 'swarthy' tone to Victoria's music that does not achieve, probably does not aim at, the characteristic radiance and serenity of the Italian master, nor on the other hand the calm but depthless sorrow of his Stabat Mater. It is also a more emotional, if not quite more 'extrovert' idiom than Palestrina's, and it is notable that all Victoria's masses are based on upbeat and joyful motets.
The polyphony is basically four-part, but varies at different points from three to five. The two motets are given here as well as the masses derived from them, the motets majoring in alleluia's - Ascendens has no fewer than five in its short compass. In each mass the composer sets the text of the Agnus Dei only once, but Hill and the Westminster Cathedral choir follow what I believe to be the standard practice of giving it a second time, with the music to 'miserere nobis' adapted to 'dona nobis pacem' the second time. As each phrase has six syllables accentuated in the same places, I can only imagine that this was the composer's intention.
The recorded quality is not the most 'forward' or striking that I have heard recently in similar productions, but there is nothing about it that would have me even consider witholding a fifth star from the disc.
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5.0 out of 5 stars Great! Jan. 11 2000
By A Customer
Format:Audio CD
My high school concert choir sang O Magnum Mysterium this year. This is the most wonderful recording I have ever heard!
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5.0 out of 5 stars A wonderful, soaring experience Jan. 8 1999
By A Customer
Format:Audio CD
Anyone who loves choral music should discover Victoria. This is a sublime introduction.
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Amazon.com: 4.7 out of 5 stars  6 reviews
32 of 32 people found the following review helpful
5.0 out of 5 stars VICTORIOUS Jan. 30 2004
By DAVID BRYSON - Published on Amazon.com
Format:Audio CD
Tomas Luis de Victoria was a Spanish priest, an acquaintance of Palestrina and Lassus. His personal style in his polyphonic masses and motets is a strongly marked one easily distinguished from those of his great contemporaries. Like Palestrina he favours relatively unbroken vocal lines and in general he also avoids the antiphonal effects adopted by the Flemish school of the period and earlier, Lassus and before Lassus Josquin. There the resemblance to Palestrina ends, for me at least. There is a `swarthy' tone to Victoria's music that does not achieve, probably does not aim at, the characteristic radiance and serenity of the Italian master, nor on the other hand the calm but depthless sorrow of his Stabat Mater. It is also a more emotional, if not quite more `extrovert' idiom than Palestrina's, and it is notable that all Victoria's masses are based on upbeat and joyful motets.
The polyphony is basically four-part, but varies at different points from three to five. The two motets are given here as well as the masses derived from them, the motets majoring in alleluia's - Ascendens has no fewer than five in its short compass. In each mass the composer sets the text of the Agnus Dei only once, but Hill and the Westminster Cathedral choir follow what I believe to be the standard practice of giving it a second time, with the music to `miserere nobis' adapted to `dona nobis pacem' the second time. As each phrase has six syllables accentuated in the same places, I can only imagine that this was the composer's intention.
The recorded quality is not the most `forward' or striking that I have heard recently in similar productions, but there is nothing about it that would have me even consider witholding a fifth star from the disc. The performance is idiomatic and accomplished, with a proper sense of sharing the exultant feel inherent in the music. It may be one of the happier consequences of the straitened financial position of the classical music industry that there is currently such a superb selection available of ancient music, which must be less expensive to record than, say, Mahler or Shostakovich. Westminster Cathedral is, in the last resort, a parish church, and its younger choristers at least, maybe all of them, cannot by definition be professionals. The sense here is one of belief in as well as enthusiasm for and close familiarity with the idiom of this kind of music. The professionalism in the best sense comes from the directing, and I can only wonder how many performances as accomplished as this the composer himself was privileged to hear.
2 of 2 people found the following review helpful
4.0 out of 5 stars Dark & Mysterious Jan. 9 2011
By Mark the Lesser - Published on Amazon.com
Format:Audio CD|Verified Purchase
This music by Tomas Victoria & sung by Westminster cathedral is beautifully sung & produced, but is not what you might call an upbeat, happy piece. It is quite dark & meditative, which such a mystery should at times invoke in addition to the outright joy one feels at the birth of our Savior. I will say that certain movements of the music are a little boy-soprano heavy, making it a bit squealy. By far, though, it's glorious & beautiful.
11 of 16 people found the following review helpful
5.0 out of 5 stars A wonderful, soaring experience Jan. 8 1999
By A Customer - Published on Amazon.com
Format:Audio CD|Verified Purchase
Anyone who loves choral music should discover Victoria. This is a sublime introduction.
4.0 out of 5 stars Atmospheric Feb. 25 2014
By J. R. Trtek - Published on Amazon.com
Format:Audio CD
I'm not musically trained, and early vocal music is a genre that I know only by my hit-or-miss, flying blind (or half-deaf) intuition. And my gut says yes to this disc, which contains two motets and two masses by Tomas Luis de Victoria. I'm not skilled enough to judge these performances with respect to others -- all I know is that, having hear them, I've not been inclined to seek out other renditions. Recommended.
5.0 out of 5 stars If you love chamber music, buy it now. Feb. 4 2013
By Jason - Published on Amazon.com
Format:Audio CD|Verified Purchase
Having sung some of this music and owned this CD before, it is wonderful to have it flood my ears again. As others have said the choir is a bit rough in spots, but I love the tempo and the haunting beauty of Victoria is still on full display. His music should be a prerequisite for for choral lovers.
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