MusiepocaLogo w500 - Segell discogràfic de música antiga

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Segell discogràfic de música antiga

Missa en Re major | Stabat Mater | Quomodo Obscuratum Est | Lauda Jerusalem

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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JosepMiriLlussa 550
JosepMiriLlussa contra
Lluís Vilamajó, tenor
LA XANTRIA, Pere Lluís Biosca
Missa a 8 en Re major (1760)
  1. Kirie: Largo – Vivo
  2. Gloria: Andante
  3. Laudamus te: Andante - Domine Deus: Allegro
  4. Qui Tollis: Staccato
  5. Qui sedes: Andantino
  6. Cum Sancto Spiritu: Largo – Vivo
  7. Credo: Andante
  8. Et incarnatus: Despacio
  9. Crucifixus: Despacio
  10. Et Rexurrexit: Andante
  11. Sanctus: Allegretto/Allegro
  12. Benedictus: Giusto
  13. Agnus Dei

Stabat Mater a 8 “sobre otro a 4 de Arze” en Sol menor(1756)

  1. 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

  1. Andante non tropo
  2. Vivo: daleth
  3. Andante: Adhesit lingua lactentis
  4. Tempo Giusto: He, he quives cebantur Voluptuose interierunt – Jerusalem
  5. Despacio: Jerusalem
Psalmo Lauda Jerusalemen La major
  1. Lauda Jerusalem - Gloria Patri

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