Josep Mir i Llussà achieved some of these most prestigious positions in Segovia (1731-1741), Valladolid (1741-1750) and Madrid (1751-1764). In this stage in Madrid, Mir was mixed with the most influential persons of the court: José de Nebra, Jaume Casellas, José Ripa and the Italians Francesco Corselli and Nicola Conforto. His main task was always the composition of church music, materialized in an impressive catalogue of works and in its dissemination throughout the Spanish and Latino American geographies. This recording shows four contrasting pieces both in style and in scoring: a mass of great format with soloists, choir and orchestra (Missa a 8, 1760), a lamentation for a solo tenor and orchestra (Quomodo obscuratum est, 1753), a Stabat mater written a capella (1756) and a psalm for a double choir and small orchestra (Lauda Jerusalem).
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VESPRES D'ARNADÍ, Dani Espasa
- Kirie: Largo – Vivo
- Gloria: Andante
- Laudamus te: Andante - Domine Deus: Allegro
- Qui Tollis: Staccato
- Qui sedes: Andantino
- Cum Sancto Spiritu: Largo – Vivo
- Credo: Andante
- Et incarnatus: Despacio
- Crucifixus: Despacio
- Et Rexurrexit: Andante
- Sanctus: Allegretto/Allegro
- Benedictus: Giusto
- Agnus Dei
Stabat Mater a 8 “sobre otro a 4 de Arze” en Sol menor(1756)
- Stabat mater dolorosa - O quam tristis et afflicta - Qui non posset Contristari - Quoe moerebat et dolebat - Eya mater fons Amoris
Quomodo obscuratum est en Sol major (1753) Lectio 2ª in Sabato
- Andante non tropo
- Vivo: daleth
- Andante: Adhesit lingua lactentis
- Tempo Giusto: He, he quives cebantur Voluptuose interierunt – Jerusalem
- Despacio: Jerusalem
- Lauda Jerusalem - Gloria Patri
