Festal Sacred Music of Bavaria

Festal Sacred Music of Bavaria
Missa Bell Amfitrit' altera by Orlandus Lassus (1532-1594) and Music by Hans Leo Hassler (1562-1612) and Christian Erbach (c1570-1635)
The Choir of Westminster Cathedral, James O'Donnell conductor
His Majestys Sagbutts & Cornetts, Jeremy West director
Hyperion CDA 66688
Hyperion Helios CDH 55212


  1. Hans Leo Hassler: Canzon duodecimi toni
  2. Hans Leo Hassler: Cantate Domino santicum novum
  3. Christian Erbach: Introit: Sacerdotes Dei
  4. Orlandus Lassus: Kyrie (Missa Bell Amfitrit' altera)
  5. Hans Leo Hassler: Toccata in G
  6. Orlandus Lassus: Gloria (Missa Bell Amfitrit' altera)
  7. Christian Erbach: Canzona secundi toni
  8. Christian Erbach: Alleluia: Hic est sacerdos
  9. Orlandus Lassus: Credo (Missa Bell Amfitrit' altera)
  10. Hans Leo Hassler: Canzon noni toni
  11. Orlandus Lassus: Sanctus (Missa Bell Amfitrit' altera)
  12. Orlandus Lassus: Benedictus (Missa Bell Amfitrit' altera)
  13. Christian Erbach: Fantasia sub Elevatione
  14. Orlandus Lassus: Agnus Dei (Missa Bell Amfitrit' altera)
  15. Christian Erbach: Toccata octavi toni
  16. Hans Leo Hassler: O sacrum convivum
  17. Christian Erbach: Communion: Posuisti Domine
  18. Christian Erbach: Canzon: La Paglia
  19. Hans Leo Hassler: Domine Dominus noster

Performers: The Choir of Westminster Cathedral

His Majestys Sagbutts & Cornetts: Jeremy West and David Staff, cornetts; Susan Addison, alto sackbut; Peter Bassano, alto and tenor sackbuts; Paul Nieman and Tom Lees, tenor sackbuts; Stephen Saunders, bass sackbut; William Lyons, bass dulcian; Amanda MacNamara, violone
Timothy Roberts, Iain Simcock, and Iris Schollhorn, organs

Playing time: 63'24"

Recorded June 23,24,25,28,29,30 1993, Westminster Cathedral, London

Lassus was considered to be the greatest composer of his day. Today his vast output is woefully underrecorded. When his sacred music is performed today, it is generally sung unaccompanied, giving it a stark, black-and-white sound. The instumental additions here provide a wonderfully colorful performance. For example the Agnus Dei from the Lassus Mass is performed twice, first with voices and very discreet organ, then the cornetts and sackbuts join in, to bring the Mass to a glorious, jubilant conclusion. As well as give support and texture to the voices in the Mass, the cornett and sackbut ensemble perform instrumental canzoni. There are also solo organ pieces and unaccompanied vocal motets to give a listener the experience of how a sacred service in Munich might have sounded in the late sixteenth century.

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Frank Cone