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Hyperion Records

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Adoration of the Child by Filippo Lippi (c1406-1469)
Track(s) taken from CDH55452
Recording details: March 1996
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: October 1996
Total duration: 28 minutes 57 seconds

'Once again, this is a superb and compelling disc that adds to our knowledge and appreciation of Victoria's art' (Gramophone)

'The greatest Spanish Renaissance composer is in the blood of this splendid choir—it's hard to imagine any group doing him greater justice. A very welcome addition to the catalogue' (Classic CD)

'If your opportunity of hearing a first-rate choir sing this music in its liturgical context is limited, then listening to these splendid performances is the next best thing, and this is certainly a disc to treasure. It would be worth it for the soaring 'Amens' of the Credo alone!' (Organists' Review)

'Maravillémonos de este nuevo monográfico de Victoria del mejor coro con niños del mundo' (CD Compact, Spain)

Missa Dum complerentur
1576; 6vv, 7vv in the final Agnus Dei; first book of Masses, Venice
author of text
Ordinary of the Mass

Kyrie  [3'35] GreekEnglish
Gloria  [6'47] LatinEnglish
Credo  [8'53] LatinEnglish

Introduction  EnglishFrançaisDeutsch
Victoria’s Missa Dum complerentur is a six-part parody Mass based on his five-part motet of the same title. It was published in his first book of Masses in Venice in 1576 by Angelo Gardane and later in Rome in 1583 by Angelo’s brother Alessandro in a second book of Masses. The Mass contains much new material but makes considerable use of the opening counterpoints of the motet, and the pealing Alleluias which conclude the motet appear and are elaborated upon in the Amens of the Gloria and Credo. The Mass text does not present the same opportunities for word-painting that Victoria seizes on so effectively in the homophonic passages of the motet, but he uses the extra voice to create a six-part texture of great richness and harmonic variety and also adds an extra part, as was often done in Masses of the period, for the second Agnus Dei, enabling him to bring the work to a close with music of great spaciousness and sonority perfectly fitting the final appeal, ‘dona nobis pacem’.

from notes by Jon Dixon © 1996

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