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Choral Classics: O Magnum Mysterium Antoine Brumel (1460–1520), Josquin Des Prez (1440-1521), Guillaume Dufay (ca.1400-1474), Heinrich Finck (1445-1527), Nicolas Gombert (c. 1495-c. 1560), Heinrich Isaac (ca.1450-1517), Johannes Ockegem
CHORAL CLASSICS: O MAGNUM MYSTERIUM VOLUME I
1. Missa »Ecce ancilla Domini’ (1463) for 4 Voices: I. Kyrie 06:17
2. Missa »Ecce ancilla Domini’ (1463) for 4 Voices: II. Gloria 05:42
3. Missa »Ecce ancilla Domini’ (1463) for 4 Voices: III. Credo 09:12
4. Missa »Ecce ancilla Domini’ (1463) for 4 Voices: IV. Sanctus 07:35
5. Missa »Ecce ancilla Domini’ (1463) for 4 Voices: V. Agnus Dei 04:51
6. Missa pro defunctis for 2 to 4 Voices: I. Introitus 02:32
7. Missa pro defunctis for 2 to 4 Voices: II. Kyrie 04:17
8. Missa pro defunctis for 2 to 4 Voices: III. Graduale 04:45
9. Missa pro defunctis for 2 to 4 Voices: IV. Tractus 07:08
10. Missa pro defunctis for 2 to 4 Voices: V. Offertorium 09:06
CHORAL CLASSICS: O MAGNUM MYSTERIUM VOLUME II
1. Missa prolationum for 4 Voices: I. Kyrie 05:54
2. Missa prolationum for 4 Voices: II. Gloria 08:04
3. Missa prolationum for 4 Voices: III. Credo 09:21
4. Missa prolationum for 4 Voices: IV. Sanctus 03:39
5. Missa prolationum for 4 Voices: V. Benedictus 03:31
6. Missa prolationum for 4 Voices: VI. Agnus Dei 05:31
7. Missa »Da pacem’ for 2 to 4 Voices: I. Kyrie 03:42
8. Missa »Da pacem’ for 2 to 4 Voices: II. Gloria 05:42
9. Missa »Da pacem’ for 2 to 4 Voices: III. Credo 09:06
10. Missa »Da pacem’ for 2 to 4 Voices: IV. Sanctus 06:28
11. Missa »Da pacem’ for 2 to 4 Voices: V. Benedictus 04:30
12. Missa »Da pacem’ for 2 to 4 Voices: VI. Agnus Dei 04:41
CHORAL CLASSICS: O MAGNUM MYSTERIUM VOLUME III
1. Sanctus (from Missa sex vocum, 1512) 07:15
2. Missa cuiusvis toni for 4 Voices: I. Kyrie 01:54
3. Missa cuiusvis toni for 4 Voices: II. Gloria 04:26
4. Missa cuiusvis toni for 4 Voices: III. Credo 08:35
5. Missa cuiusvis toni for 4 Voices: IV. Sanctus 03:45
6. Missa cuiusvis toni for 4 Voices: V. Benedictus 03:17
7. Missa cuiusvis toni for 4 Voices: VI. Agnus Dei 03:34
8. Missa super »Malheur me bat’ for 4 to 6 Voices: I. Kyrie 04:05
9. Missa super »Malheur me bat’ for 4 to 6 Voices: II. Gloria 06:29
10. Missa super »Malheur me bat’ for 4 to 6 Voices: III. Credo 08:42
11. Missa super »Malheur me bat’ for 4 to 6 Voices: IV. Sanctus 11:48
12. Missa super »Malheur me bat’ for 4 to 6 Voices: V. Agnus Dei 09:40
CHORAL CLASSICS: O MAGNUM MYSTERIUM VOLUME IV
1. Musae Jovis ter maximi, 6-part Motets on the Death of Josquin Desprez 05:06
2. Missa »Et ecce terrae motus’ for 12 Voices: I. Kyrie 08:03
3. Missa »Et ecce terrae motus’ for 12 Voices: II. Gloria 11:30
4. Missa »Et ecce terrae motus’ for 12 Voices: III. Credo 11:33
5. Missa »Et ecce terrae motus’ for 12 Voices: IV. Sanctus 05:50
6. Missa »Et ecce terrae motus’ for 12 Voices: V. Benedictus-Osanna 09:43
7. Missa paschalis for 6 Voices: I. Kyrie 07:08
8. Missa paschalis for 6 Voices: II. Gloria 07:33
9. Missa paschalis for 6 Voices: III. Sanctus 01:12
10. Missa paschalis for 6 Voices: IV. Benedictus 03:50
11. Missa paschalis for 6 Voices: V. Agnus Dei 05:11
Schola Cantorum Stuttgart
Clytus Gottwald - dirigent
Music in 14th century Europe was dominated by the composers working in the Low Countries, or what we now call The Netherlands and Belgium and Northern France. Dufay was born in Cambrai, but went to Italy in the 1420s to work in Bologna, and eventually became a member of the Papal choir before returning to Cambrai. Josquin Desprez was from Flanders, and moved to Milan in 1460, and like Dufay became a member of the Papal choir, before moving to Cambrai. He was one of the first composers to benefit from the printing of music and his reputation traveled far and wide as a result. His music is beautifully crafted, and he attempted to convey in music the inner meaning of the words -- one of the earliest instances of a composer exploring the expressive possibilities of text and music. Ockeghem was born in Dendermonde, and he traveled to Spain and throughout Flanders. His music, like Josquin's is superbly crafted, with intricate rhythmic sections, and a seamless flow of counterpoint.
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