Orlande de Lassus: Requiem a 5; Motets
Lassus’ five-part setting of the Requiem is rarely heard; here it is recorded with brass for the first time, the sombre colours of the sackbuts further darkening the tone. Interweaving a number of motets, some also receiving first recordings, and a madrigal on death by one of Lassus’ contemporaries in an organ transcription, this innovative programme takes the listener on a spiritual journey, through the darkness of bereavement to the elevation of the Christian soul after death.
The Choir of Girton College, Cambridge (Tracks 1-4, 6-10, 12-14, 17)
Historic Brass of the Guildhall, London
(Jeremy West, leader) (Tracks 2-8, 10, 12-14, 17)
Lucy Morrell, organ (Tracks 3, 4, 6-8, 10-13, 16, 17)
Gareth Wilson, director
Listen To This Recording:
- Plainchant: Ego sum resurrection
- Tristis est Anima mea **
- I Requiem aeternam
- II Kyrie eleison
- Peccata mea Domine *
- III Absolve Domine
- IV Domine Jesu Christe
- V Hostias
- Fratres Sobrii Estote *
- VI Sanctus – Benedictus
- Weep, O Mine Eyes **
- VII Agnus Dei
- VIII Lux Aeterna
- Exaudi Domine Vocem Meam **
- Adoramus te Christe
- Margot Labourez les Vignes
- Levavi Oculos Meos *
Requiem a 5**
Requiem a 5
Piano Quintet No. 2 (1999)
Requiem a 5
John Bennett arr. Wilson:
Requiem a 5
* First Recordings
** First Recordings in this Version
Planet Hugill :
‘This disc is a notable achievement, and the combination of choir and brass really lifts the choral music.’
—Robert Hugill, Planet Hugill
MusicWeb International :
‘What makes this disc so compelling is its plan with the Requiem being split up around the recording and divided by appropriate motets some of which are being played just on brass others sung with the brass. […]
The ‘Historic Brass of the Guildhall’ consisting of cornetts and sackbuts, are new to me but they make a sonorous and beautifully balanced noise especially when accompanying the choir. The motets work most strikingly for them.’
—Gary Higginson, MusicWeb International