Collegium Vocale Gent, Philippe Herreweghe - Lassus: Psalmi Davidis poenitentiales (2006)
BAND/ARTIST: Collegium Vocale Gent, Philippe Herreweghe
- Title: Lassus: Psalmi Davidis poenitentiales
- Year Of Release: 2006
- Label: harmonia mundi
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 02:20:42
- Total Size: 615 mb
- WebSite: Album Preview
Tracklist
CD1
01. Psalmus Primus Poenitentialis: Domine, ne in furore tuo arguas me
02. Psalmus Secundus Poenitentialis: Beati, quorum remissae sunt iniquitates
03. Psalmus Tertius Poenitentialis: Domine ne in furore tuo arguas me
CD2
01. Psalmus Quartus Poenitentialis: Miserere mei, Deus, secundum magnam
02. Psalmus Quintus Poenitentialis: Domine exaudi orationem meam
03. Psalmus Sextus Poenitentialis: De profundis clamavi ad te Domine
04. Psalmus Septimus Poenitentialis: Domine exaudi orationem meam
When his Penitential Psalms were published in Munich in 1584, Orlande de Lassus was the most famous composer in Europe. The work had been composed 25 years earlier, but it did not show its age in the slightest. And, four centuries later, this collection still rouses the admiration of musicologists and the astonishment of performers and listeners, for the pure musical beauty of ‘abstract’ polyphony is here matchlessly combined with the expressive possibilities of speech.
CD1
01. Psalmus Primus Poenitentialis: Domine, ne in furore tuo arguas me
02. Psalmus Secundus Poenitentialis: Beati, quorum remissae sunt iniquitates
03. Psalmus Tertius Poenitentialis: Domine ne in furore tuo arguas me
CD2
01. Psalmus Quartus Poenitentialis: Miserere mei, Deus, secundum magnam
02. Psalmus Quintus Poenitentialis: Domine exaudi orationem meam
03. Psalmus Sextus Poenitentialis: De profundis clamavi ad te Domine
04. Psalmus Septimus Poenitentialis: Domine exaudi orationem meam
When his Penitential Psalms were published in Munich in 1584, Orlande de Lassus was the most famous composer in Europe. The work had been composed 25 years earlier, but it did not show its age in the slightest. And, four centuries later, this collection still rouses the admiration of musicologists and the astonishment of performers and listeners, for the pure musical beauty of ‘abstract’ polyphony is here matchlessly combined with the expressive possibilities of speech.
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