Guerrero, Francisco: Ave Virgo sanctissima

This page lists all recordings of Ave Virgo sanctissima, by Francisco Guerrero (1527 or 1528-1599) on CD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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June 2005

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Miserere

Miserere

A sequence of music for Lent, St Joseph, and the Annunciation


anon.:

Attende, Domine

Peter Stevens (organ)

Audi, benigne conditor

Peter Stevens (organ)

Evigila super nos

Evigila super nos

Mass IX 'Cum iubilo'

Credo IV

Peter Stevens (organ)

Salva nos, Domine

Salva nos, Domine

Salva nos, Domine

Antiphon Repeat

Bevan, D:

Magnificat

Byrd:

Emendemus in melius

Croce, G:

In spiritu humilitatis

Guerrero, Francisco:

Ave Virgo sanctissima

Malcolm:

Miserere mei, Deus

Scapulis suis

Veritas mea

Nunc dimittis tertii toni

Mawby:

Iustus ut palma

William Gaunt (bass) & Peter Stevens (organ)

Palestrina:

Missa Emendemus in melius

Parsons, R:

Ave Maria

Tallis:

Te lucis ante terminum


This release from the admired Westminster Cathedral Choir demonstrates the splendours of the liturgy in the at-once solemn and joyful period of Lent. Masterworks from the Renaissance—familiar from Westminster Cathedral Choir’s previous award-winning recordings—alternate with works by former organists of the Cathedral (all themselves masters of liturgical composition) and are linked by the plainchant which is at the spiritual heart of the music. Hearing the music like this in context—and recorded in the unique acoustic of the Cathedral—perfectly replicates the live experience for the listener.

“This is beautifully devised programme, sung with ineffable perceptiveness by the Westminster choristers and recorded with utterly natural atmosphere by the Hyperion team: 79 minutes' worth of timeless reflection, which, far from giving up, anyone should possibly crave for Lent.” International Record Review, February 2013

“In purist terms accompanied by organ harmonisation is an anachronism...Does it work? Well, yes, because the choir is on excellent form and the recorded sound seems perfectly to capture a sense of place, of atmosphere. That's indefinable and therefore worth hearing. Furthermore, everything is of a piece: the performance of Renaissance piece might almost be described as lush...And yet the recital's unity of purpose is most convincing, even impressive” Gramophone Magazine, March 2013

“This is a disc for those who love the acoustic, the atmosphere and the musical traditions of the Roman Catholic Cathedral in London...This is a large choir, very good at big effects. The pacing and cohesion in the Agnus Dei of Palestrina's Missa Emendemus in Melius is accomplished and moving” BBC Music Magazine, April 2013 ***

“The singing is enchanting” MusicWeb International, 20th June 2013

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Hyperion - CDA67938

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Santiago a cappella

Santiago a cappella

Recording location: St Alban the Martyr, Holborn, London


 

Mariam Matrem Virginem

Llibre vermell de Montserrat

Cardoso, M:

Non mortui

Guerrero, Francisco:

Ave Virgo sanctissima

Duo Seraphim

Joao IV:

Crux fidelis

Lobo, A:

Lamentationes Ieremiae Prophetae

Versa est in luctum

Rogier:

Salva Nos. Domine

Victoria:

O lux et decus Hispaniae

O vos omnes


Soli Deo Gloria is proud to release a sequel to its best selling album to date, Pilgrimage to Santiago (SDG701).

This CD is a journey through medieval and renaissance Spain. It takes listeners from the 14th century polyphonies of the Llibre Vermell (Red Book) of Montserrat – one of the only surviving manuscripts, from a time when music was transmitted orally – to elaborate 16th and 17th century choral music which travelled internationally thanks to the recent invention of print.

During the Middle Ages and Early Modern periods, pilgrimage routes formed part of a broader network of cultural and commercial connections between ecclesiastical institutions in Spain, Portugal and the rest of Europe.

This is an anthology of Golden Age “classics” which would have been performed throughout Europe for centuries. In turn moving, intimate, spectacular and awe inspiring, this sacred music is always uplifting and deeply spiritual.

This is the oldest of two recordings made around the 2004 Pilgrimage to Santiago – a project undertook by the Monteverdi Choir and Sir John Eliot Gardiner for their 40th anniversary. The musicians travelled through France and Spain to perform sacred polyphonies of the Iberian peninsula along the route to the shrine of Santiago de Compostela.

The CD features the same luxurious packaging as Pilgrimage to Santiago. It includes detailed notes by musicologist Tess Knighton.

This album was previously released internationally by Universal Spain under the title Santiago A Capella.

“Originally released by Universal in 2005, this features a series of sublime interpretations of Spanish polyphony by the Monteverdi Choir...[Lobo's] "Lamentationes Ieremiae Prophetae" furnishing the centrepiece, its arching long phrases like the vertiginous vaulting of a sonic cathedral.” The Independent, 8th October 2010 ****

“Prolonged exposure to the solemn polyphony of Victoria, Lobo and Cardoso can be wearing, but it is relieved by more dramatic works from Guerrero. The choir makes a glorious sound.” The Telegraph, 15th October 2010 ****

“...it is a beautifully planned and executed selection, occasionally a little too English perhaps, but recorded at Temple Church in London with just the right amount of warm resonance.” The Guardian, 21st October 2010 ****

“A wonderful collection brilliantly sung. Only Mariam Matrem is a true pilgrim piece, but others (Lobo's Versa est) are a revelation.” BBC Music Magazine

Presto Disc of the Week

30th August 2010

SDG - SDG710

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The Flowering of Genius

The Flowering of Genius


Byrd:

Quomodo cantabimus

Guerrero, Francisco:

Ave Virgo sanctissima

Monte, P:

Super flumina Babylonis

Sheppard, J:

Verbum caro factum est

Tallis:

Suscipe quaeso Domine

Angus Dei from mass "Puer natus"

Victoria:

O vos omnes

Vere languores

Officium Hebdomadae Sanctae: O Domine Iesu Christe

Super flumina Babylonis

Vadam et circuibo civitatem

Laudate Dominum omnes gentes


Coro - COR16001

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Treasures of the Spanish Renaissance

Treasures of the Spanish Renaissance


Guerrero, Francisco:

Surge propera amica mea

O altitudo divitiarum

O Domine Jesu Christe

O sacrum convivium

Ave Virgo sanctissima

Regina caeli a 8

Lobo, A:

Versa est in luctum

Ave Maria

O quam suavis est, Domine

Vivanco:

Magnificat octavi toni


Recorded in 1985, this seminal album from Westminster Cathedral Choir and David Hill is a true jewel in the crown. These are among the the first performances in modern times of the divine compositions of Francisco Guerrero and Alonso Lobo, and there is also a Magnificat by Sebastián de Vivanco, a composer barely known even now. These recordings date from the peak of a golden era in the history of this most illustrious of choirs, and have yet to be bettered.

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Seasons of Angels: Harmony of the Spheres

Seasons of Angels: Harmony of the Spheres


anon.:

Signum Magnum

Alleluia nativitatis

Gaudeamus omnes

Benedicite Dominum

Stabat iuxta

Salve, salve virgo pia

Lauda Novella

Binchois:

Veni Creator Spiritus

Fux:

Salve salus mundi

Guerrero, Francisco:

Maria Magdalene

Ave Virgo sanctissima

Laudate Dominum

Hildegard:

O gloriosissimi

O nobilissima viriditas

Scheidt:

Herr, wenn ich nur dich habe, SSWV264


Rose Ensemble

Rose Records - Rose002

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Europe's Golden Age

Europe's Golden Age


Allegri:

Miserere mei, Deus

Despres:

Absalon Fili Mi

Gesualdo:

O Vos Omnes

Guerrero, Francisco:

Ave Virgo sanctissima

Lasso:

Justorum Animae

Tristis est Anima mea

Timor et Tremor

Palestrina:

Stabat mater

Rebelo:

Panis Angelicus

Victoria:

Ave Maria

Versa est in luctum


Magnificat, Philip Cave

The inspiring and uplifting sacred music of the late 16th century defines ‘Europe’s Golden Age’, and Magnificat captures that spirit with its very special golden choral sound.

Originally released in 1996, ‘Europe's Golden Age’ has been re-issued as part of Linn’s ECHO series which offers a second chance to enjoy the best of the label’s award-winning catalogue.

There are contributions from the great polyphonists des Prez, Lassus and Victoria, as well as a selection of other exquisite works by Guerrero and Rebelo.

Familiar gems such as Palestrina’s Stabat mater and Allegri’s Miserere mei, with appropriate vocal ornamentation and great sensitivity to the texts, complete Magnificat’s stunning debut.

Magnificat is one of the world’s premier vocal ensembles whose recordings have met with huge critical acclaim: Spem in alium was hailed as ‘quite the best performance of Tallis's 40-part Spem in alium that I have heard' by Gramophone and was ‘First Choice’ in Building A Library on BBC Radio 3's CD Review. In addition Victoria’s Officium Defunctorum was named ‘Critics’ Choice’ by Gramophone and chosen by The Rough Guide as one of its ‘100 Essential Classical CDs’.

Directed by Philip Cave, Magnificat specialises in the restoration and performance of neglected choral masterpieces of the 16th and 17th centuries.

In association with Linn Records, Magnificat has undertaken many highly successful recording projects including Latin sacred music by Robert Parsons, Robert White and William Byrd and two recordings to commemorate the 450th anniversary of composer Philippe Rogier.

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Linn ECHO - BKD052

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Angeles o Calandrias

Angeles o Calandrias


Arauxo:

Tiento de decimo tono

Tiento de medio registro de tiple de octavo tono

Tiento de quarto tono medio registro tiple

Coelho:

Magnificat de primer tono

Guerrero, Francisco:

Ave Virgo sanctissima

Lobo, A:

Versa est in luctum

Palestrina:

Ave Verum

Victoria:

Vadam et circuibo civitatem

Dilectus tuus


Mark Chambers (countertenor), Andrés Cea (claviorgan), Con Bárbara Sela (bassoon) & Arnau Rodón (cornett)

The keystones of this recital are the motets by Victoria and Palestrina published in an ornamented version by Bovicelli in his Regole of 1594. Vadam et circuibo civitatem is taken from the 1572 Venician edition of Victoria's motets while Ave verum corpus is a sacred setting of the Palestrina madrigal Io son ferito, hai lasso which appeared in 1561.There is also one 5 part motet by Francisco Guerrero, Ave Virgo Sanctissima.

The two treble voices are written in canon, and one of them, on this recording, is played by Arnau Rodón on the cornett. Like wise, the cornett and countertenor alternate in Alonso Lobo's six part motet Versa est in luctum, published in his book of masses which appeared in Madrid in 1602.

Lindoro - NL3017

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Del Canto Figurado

Del Canto Figurado


anon.:

Cinque differencias sobre Las Vacas

Aranés:

Chacona: 'Una sarao de la chacona'

Arauxo:

Glosada LXVI

Cabezón, A:

Ad Dominum cum tribularer

Tiento V

Tiento sobre 'Qui la dira'

Pisne me pulvenir

Cabezón, H:

Susane un jur

Cabezón, J:

Tiento LXXIV

Cotes:

De Virginibus

Despres:

Benedicta es

Mille Regretz

Encina:

Triste España sin ventura

Flecha I:

Ay que vivo en tierra extrana

Guerrero, Francisco:

Ave Virgo sanctissima

Morales, C:

Missa 'Mille regretz': Agnus Dei III

Peraza, F:

Medio Registro Alto, 1er Tono

Santa Maria:

Fantasia I

Valderrabano:

Pleni sunt

Et misericordia eius

Agnus Dei

Per illud ave

Soneto IX

Soneto X

Et resurrexit

Benedictus


The Royal Wind Music

The roster of composers in this recording is both extensive and impressive, from the prince of Renaissance music himself, Josquin des Prez (d. 1521), to a string of prominent Spaniards that spans more than a century, including a renowned vihuelist and the prominent organists of the time.

This program attests to the centrality of Josquin’s production within the Spanish musical scene of the sixteenth century. Even though the componer moved around Europe quite a bit, he does not seem to have visited the Iberian Peninsula. His music, however, not only made it there but found a place of honor within the main local collections of both vocal and instrumental music.

Lindoro - MPC0123

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In Honour of our Lady

In Honour of our Lady


anon.:

Ave Maria

Salve mater misericordiae

Britten:

A Hymn to the Virgin

Bruckner:

Tota pulchra es, antiphon, WAB 46

Ave Maria

Dupré:

Ave Maria, Op. 9

Elgar:

Ave maris stella, Op. 2 No. 3

Ave Maria, Op. 2 No. 2

Fauré:

Maria Mater gratiae Op. 47 No. 2

Grieg:

Ave Maris Stella

Guerrero, Francisco:

Ave Virgo sanctissima

MacMillan:

Ave Maria

Martin, M:

I Sing of a Maiden

Moulinié:

Veni sponsa mea

Saint-Saëns:

Ave Maria

Soriano:

Regina Coeli

Tavener:

Mother Of God, Here I Stand

Victoria:

Ave Maria


Schola Cantorum

The tradition of venerating the Mother of God through music is as old as the Church itself and something of the rich variety of expression it has taken across the centuries is reflected in the music on this recording.

That variety stems in part from the fact that Mary has an honoured place in both the Church’s liturgy and also in her devotional life where there is greater freedom for poetic and imaginative interpretation. These two sources are often combined. There is perhaps no better example of this than the best-known Marian prayer, the Ave Maria, or Hail Mary. This has a first half comprised of the ‘plain words’ of Scripture whilst the second half is a devotional response. Its key position in Catholic devotion is reflected in the number of composers who have set this text to music.

The plainchant Ave Maria that opens this recording dates from the ninth century. The setting that follows by Robert Parsons was composed in the 1550s. As it predates the standardising of liturgical texts by the Council of Trent, Parsons sets only part of the prayer, omitting the last two lines. The setting is a perfect demonstration of the beauty of the composer’s musical imagination, with the cadences often softened through the addition of added sixth notes, perhaps hinting at Mary’s femininity.

Edward Elgar’s setting is an early composition and is notable for the sensitivity of its approach, growing more urgent only when pleading for Mary’s intercession for our sins. Saint-Saëns, who worked most of his life as organist of the Madeleine church in Paris, composed his setting of the text in 1863, one of many liturgical compositions by the composer. The treble voices divide and sing flowing lines above a rippling accompaniment in the organ.

Devotion to the Mother of God was a central feature of the Counter-Reformation and of Spanish Catholicism in the sixteenth century. This is reflected in the output of Tomás Luis de Victoria, whose setting of the Ave Maria for two four-part choirs, first published in Venice in 1572, is extended and sumptuous. Written in the antiphonal style, the music alternates chordal passages, sometimes in triple time, with polyphonic exchanges of great spaciousness and richness. In contrast, the setting by Marcel Dupré, which dates from the First World War, is lyrical and poignant though not without moments of harmonic unease.

Like that of Dupré and Victoria, the considerable body of liturgical music composed by Anton Bruckner was a product of his devout Roman Catholic beliefs. His Ave Maria of 1861 hints at the modality and chant-like melodic lines of the Renaissance masters he so admired but the harmonic shifts display a clearly Romantic sensibility. Contemporary Scottish composer James MacMillan’s setting was composed in 2010. Contrasting quasi-improvisatory passages on the organ with greatly varied choral textures, the work offers a powerful and decidedly individual setting of this ancient text.

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Nova

Nova


Domínguez, J:

Deus, Qui Illuminas

Gjeilo:

Tota pulchra es

Guerrero, Francisco:

Ave Virgo sanctissima

Janson, A:

Sonnet no. 76

Kverno:

Ave Maris Stella

Mellnäs:

Bossa buffa

Nystedt:

O Crux

Rachmaninov:

Vespers, Op. 37: Bogoroditse Devo (Rejoice, O Virgin)

Reger:

Nachtlied, Op. 138, No. 3

trad.:

Trilo - Traditional folk song from Bohuslan

arr. Ale Möller

Whitacre:

Water Night

Sleep


Nova Chamber Choir

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LAWO - LWC1001

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