Gaude plurimum, antiphon for 5 voices. Harry Christophers, The Sixteen. Missa "Corona Spinea", for 6 voices. In pace in idipsum, motet for 4 voices.
THE SIXTEEN, HARRY CHRISTOPHERS - Missa "Corona Spinea", for 6 voices~Gloria 10:27. THE SIXTEEN, HARRY CHRISTOPHERS - Missa "Corona Spinea", for 6 voices~Credo 9:52. THE SIXTEEN, HARRY CHRISTOPHERS - Missa "Corona Spinea", for 6 voices~Sanctus 9:49. Read full description. See details and exclusions.
John Taverner Missa Corona Spinea, Motet Gaude plurimum 1 copy. Renaissance Music for Inner Peace Disc I 1 copy. Renaissance Music for Inner Peace Disc Two 1 copy. Renaissance Music for Inner Peace Disc One 1 copy. recording (6) Tallis (1) Tavener 'The Lamb' (1) Taverner (1) Te Lucis ante terminum;In Paradisum; (1) Tomkins (1) Veni Creator Spiritus; Ubi Caritas (1) Victoria (2) Weelkes (1). Events on LibraryThing Local. Christophers The Sixteen is composed of 1 name.
Taverner: Missa Corona Spinea. The Sixteen, Harry Christophers. Catalogue No: CDH55051. Taverner: In pace, in idipsum. Taverner, John (. 490-1545). Taverner: Gaude plurimum. Taverner: Missa Corona Spinea. Groups & Artists.
This album has an average beat per minute of 59 BPM (slowest/fastest tempos: 59/59 BPM). Tracklist Missa corona spinea. 59 BPM. 2. Missa corona spinea: I. Gloria. 7. In pace, in idipsum. Recent albums by John Taverner. Missa Gloria Tibi Trinitas. Missa Gloria Tibi Trinitas (The Tallis Scholars). Missa Mater Christi Sanctissima. Ave Dei Patris Filia (Christ Church Cathedral Choir feat. conductor: Stephen Darlington).
The Sixteen, Harry Christophers (conductor). Download all MP3 £. 0. Download all FLAC £. Corona Spinea conforms with the established English tradition in that it comprises only four movements, a result of the Sarum rite’s custom of performing the Kyrie troped (that is, with the addition of extra words, according to season) to plainchant. Each movement is laid out to approximately the same length, the Sanctus and Agnus Dei containing more extensive melismatic writing than the Gloria and Credo (part of whose text is omitted, again following local convention). Taverner’s setting of the Lenten respond for Compline, In pace, is scored for mean, two countertenors and bass: in the copyist’s words, ‘three men and a child’. It is based on the plainchant, which appears in the polyphonic sections as a cantus firmus in the top part.