A. Gabrieli: Missa vexilla regis & Motets

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A. Gabrieli: Missa vexilla regis & Motets



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Release date:

5th Jan 2015




71 minutes


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A. Gabrieli: Missa vexilla regis & Motets

Gabrieli, A:

Missa Vexilla Regis

Angelus ad pastores

Angelus Domini descendit

Beatus vir qui non abiit

Domine Deus meus

Emendemus in melius

Eructavit cor meum

Hodie Christus natus est

Iniquos odio habui

Isti sunt triumphatores

Iudica me Deus

Maria Magdalene et Altera Maria

Maria stabat ad momentum

O gloriosa Domina

Sancta Maria succurre miseris

I Cantori di San Marco, Marco Gemmani



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While during most of the sixteenth century vocal polyphonic music had steadily focused on a four-part structure, around the fifteen-seventies the number of parts underwent a remarkable increase, particularly in sacred music, all over Italy. In 1560 a six-part composition was still regarded as an unusual piece for special occasions, but in 1580 this number of parts was considered not very high, since in the most important festivities, music formed of eight or more parts was performed, and, particularly in Venice at the end of the century, pieces formed of no less than twenty or more parts were composed. A typical example of this case is the Concerti published by Giovanni Gabrieli in 1587, one of the cornerstone works of the musical production of the second half of the sixteenth century: many Italian and foreign composers admitted that they had obtained new ideas from this work, where the six- and seven-part pieces appeared to be the most “simple” ones, while the ten-, twelve- and sixteen-part pieces were predominant. The four-part structure, which had been customary up to a few years before, seemed to be obsolete by then. The structure of these polyvocal, often also polychoral, pieces, is not particularly complex. Their appeal consists chiefly in the pursuit of grandeur, the dynamic play of the choral masses, the restless rhythm of the sequences of chords, and the search for a sound that is rich in harmonics. We cannot be sure, on the contrary, of the liturgical use of the six- and seven- part motets contained in this collection…

Andrea Gabrieli: Maria Magdalenae, et altera Maria

Maria Magdalenae, et altera Maria

Andrea Gabrieli: Maria stabat ad monumentum

Maria stabat ad monumentum

Andrea Gabrieli: Angelus Domini descendit

Angelus Domini descendit

Andrea Gabrieli: Hodie Christus natus est

Hodie Christus natus est

Andrea Gabrieli: Angelus ad pastores ait

Angelus ad pastores ait

Andrea Gabrieli: Eructavit cor meum

Eructavit cor meum

Andrea Gabrieli: Isti sunt triumphatores

Isti sunt triumphatores

Andrea Gabrieli: Beatus vir qui non abiit

Beatus vir qui non abiit

Andrea Gabrieli: Iniquos odio habui

Iniquos odio habui

Andrea Gabrieli: Domine Deus meus

Domine Deus meus

Andrea Gabrieli: Emendemus in melius

Emendemus in melius

Andrea Gabrieli: Iudica me Deus

Iudica me Deus

Andrea Gabrieli: O fili Dei, succurre miseris "Sancta Maria, succurre miseris"

O fili Dei, succurre miseris "Sancta Maria, succurre miseris"

Andrea Gabrieli: O gloriosa Domina (O gloriose Domine)

O gloriosa Domina (O gloriose Domine)

Andrea Gabrieli: Missa Vexilla Regis






Agnus Dei

Choir & Organ

May 2015


“The performances are lively and intelligent, and Gemmani is ever alert to the spatial effects of the music.”

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