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“The warmth of the choral tone is perfectly appropriate for conveying the text ... exemplary.”
Classics Today

Gloriæ Dei Cantores celebrates the rich contribution of Spanish music and culture to the world. This recording spans 500 years, from the golden age of the Spanish Renaissance, with works by Guerrero, Victoria and Morales to the 20th century, with music by Rodrigo. Also included are works of Mexican composers de Zumaya (a striking setting of the Miserere) and Carlos Chavez, and Latin-American composers such as Villa-Lobos, Casals, and Joaquin Nin. Esperanza will be a revelation to those unfamiliar with the riches of Spanish literature and a great discovery for all devotees of choral music.

Premiere and Only Works

Track 1 Manus tuae Domine Morales
Track 2-6 Missa Beata Maria Virgine Vivanco
Track 11 Miserere Zumaya
Track 13-16 Diez Villancicos Espanoles Nin
Track 21 Magnificat-Alleluia Villa Lobos

Critical Acclaim

 

  • “A varied program ... rendered with exquisite reverence.”
    Fanfare
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  • “A broad survey of mostly choral works by mostly Spanish composers. It draws much of its material and most of its strength from music of 16th-century Spain.”
    St. Louis Post-Dispatch
  • “There seems to be increased interest these days in the music of Spanish composers, both those who worked in Europe as well as in Central and South America. While it’s always good to hear the big names – Morales, Victoria, Guerrero – as we do here, occasionally a relative unknown is unearthed and presented with the hope that new listeners will agree that the music is worthy of such an effort. On this very well-sung program that includes Morales’ Manus tuae Domine, three delightful Christmas carols by Guerrero, Pablo Casals’ beloved O vos omnes, and a late work by Villa-Lobos – a Magnificat-Alleluia for alto solo, chorus, and orchestra – we’re treated to a Mass by Victoria contemporary Sebastian de Vivanco. It’s a Marian tribute based on Gregorian themes, its lush textures built on scoring for up to eight parts.... for me the best singing and recording comes midway through the program, with a small group of men singing Victoria’s O sacrum convivium, the singers placed in a more intimate sonic environment. The warmth of the choral tone is perfectly appropriate for conveying the text in Victoria’s lovely, prayerful setting. Likewise in Manuel de Zumaya’s Miserere, the acoustic ideally captures the church atmosphere yet the choir textures are clear and well-balanced. The singing of the chant interspersed throughout this piece is exemplary.... The packaging is very well designed and the liner notes are clearly written and informative.”
    ClassicsToday.com

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