Victoria: Missa trahe me, post te
Choir of Westminster Cathedral
James O'Donnell, director
Hyperion CDA66738

This is a truly magnificent recording of some wonderful Victoria compositions. The excellent album liner notes are by Jon Dixon, who is creating the modern performance editions of all of Victoria's works. The CD contains these compositions: 

• Motet Trahe me, post te: The text for this 6-part motet was taken from the first chapter of the Song of Songs from the old testament: "Draw me, let us run after you to the fragrance of your ointments."

• Missa Trahe me, post te: This 5 and 6-part mass was based on the music from the motet.

• Antiphon Alma redemptoris mater: The four well-known Marian Antiphons of the catholic liturgy were originally sung as "true antiphons" surrounding psalms and magnificats, but later attained a status of their own at the end of the compline service, each assigned to a particular time of the year. Alma redemptoris mater was sung during the period from Advent until the Feast of the Purification. This setting for two 4-part choirs, is one of two that Victoria composed (the other in five parts). Victoria composed a total of ten different settings of Marian Antiphons, all masterpieces. Several of the recordings on this CD represent the first time to have ever been recorded.

• Antiphon Ave regina coelorum: This Marian Antiphon was sung from the Feast of the Purification of the Blessed Virgin Mary until the Wednesday of Holy Week. This is one of the two settings composed by Victoria, this one in five parts (the other for two 4-part choirs).

• Antiphon Regina coeli laetare: This Marian Antiphon was sung from Easter Sunday until the Friday after Pentecost. This is one of the two settings composed by Victoria, this one in five parts (the other for two 4-part choirs).

• Antiphon Salve regina: This Marian Antiphon was sung from Trinity Sunday until the Saturday before the first Sunday in Advent. This is one of the four magnificent settings composed by Victoria, this one for two 4-part choirs.

• Magnificat: This magnificent composition presents Victoria in one of his finest moments. Composed for two 4-part choirs, this magnificat was one of two that Victoria composed for multiple choirs, (the other for three choirs). These two compositions contrasted with the set of sixteen magnificats that were composed by Victoria for use in the daily singing of vespers. 
  

Victoria and the Music of Imperial Spain
Mixolydian
Piers Schmidt, director
Allegro PCD970
also on: Carlton Classics 30366 00802

A fine recording of Victoria's Mass Surge Propera.

• Missa Surge Propera:  The Surge Propera mass is based on Palestrina's motet Surge Propera for four voices (It was a practice among composers of this period to create masses using material from other compositions). Victoria's mass is in five parts.

• Antiphon Alma redemptoris mater: The four well-known Marian Antiphons of the catholic liturgy were originally sung as "true antiphons" surrounding psalms and magnificats, but later attained a status of their own at the end of the compline service, each assigned to a particular time of the year. Alma redemptoris mater was sung during the period from Advent until the Feast of the Purification. This setting for two 4-part choirs, is one of two that Victoria composed (the other in five parts). 

Music of Tomás Luis de Victoria
Saint Clement's Choir, Philadelphia
Peter Richard Conte, director
Dorian DIS-80146
(www.dorian.com)

A great recording of two Victoria masses and four other fine works.

• Motet and Mass Laetatus sum:  The Laetatus sum mass is based on Victoria's motet of the same name and both are for three 4-voice choirs (It was a practice among composers of this period to create masses using material from other compositions).

• Motet and Mass Ascendens christus in altum:  The Ascendens christus in altum mass is based on Victoria's motet of the same name and both are for a 5-voice choir.

• Ave Maria:  Victoria's Ave Maria is for two 4-voice choirs (the "other" well-known Ave Maria for four voices attributed to Victoria was certainly not composed by Victoria at all).

• Vidi aquam: It is nice to finally see one of Victoria's settings for the opening of the Ordinary of the Mass finally recorded on this CD. In the liturgy, there are two antiphons sung at the beginning of the Ordinary of the Mass: Vidi aquam is sung during Paschal time (from Easter Sunday until Whitsun Sunday), and Asperges me is sung outside of Paschal time (the rest of the year). Victoria composed a 4-part setting of both of these important works, both based on the original chant melody.