Manuel Correa: Commisa mea pavesco
Francisco Guerrero: Hei mihi, Domine
Miguel Juan Marqués: Versa est in luctum *
Tomas Luis de Victoria: Requiem
- Taedet animam meam
- Introitus
- Kyrie eleison
- Graduale
- Offertorium
- Sanctus - Benedictus
- Agnus Dei
- Communio
Alonso Lobo: Versa est in luctum
Tomas Luis de Victoria: O sacrum convivium
Mateo Romero: Libera me
Carlos Patino: Taedet animam meam *

* indicates premiere recordings.

In this day and age of throwaway ashes and drive-thru funeral homes, it's comforting to know that there was a time when respect for the departed actually meant something. Even for common folk a mournful and highly religious ceremony would take place. And for royalty the more opulent the punctilio and lavish the ceremony, the better. New music would be commissioned and only the best musicians hired to play it. The subtitle of this CD is: Musiques pour les funérailles royales Espagnoles and that's exactly what this new Regent recording captures and projects -- the musical elements of a regal funeral during the Renaissance.

The booklet notes indicate: Tomas Luis de Victoria's Requiem was composed in 1603 for the funeral of his patron, the Empress Maria of Austria who had lived for twenty years at the Convent of las Descalzas Reales (Convent of the Royal Barefooted) in Madrid. Two years later, Victoria published his work with a dedication to her daughter, Sister Margaret of the Cross. The music is particularly inspired, the use of six-part polyphony enabling him to vary vocal combinations by playing with registers, thus creating a rich vocal sonority. In performance, however, the rigour of Victoria's musical composition was largely compensated for by the splendour of its interpretation. Indeed we know that when official funerals of members of the royal family took place, the musicians of the royal chapel used to expand the number of singers and instrumentalists, giving rise to spectacular ceremonies. This uniquely Spanish feature never failed to surprise foreign visitors.

On this recording La Maîtrise de Toulouse and Les Sacqueboutiers assume the role of these singers and instrumentalists. The Maîtrise is a choir school within the Toulouse Conservatoire. Here these young choristers sing the soprano parts (as per the custom in the Renaissance since women were not permitted to sing) and ex choristers supply the lower voices. The indication that they undergo rigorous musical training is instantly apparent in their blend, diction, pitch control and dynamic balance. Even in the highest registers the absence of stridency is noticeable. These same qualities can be attributed to Les Sacqueboutiers, a 45 year old ensemble of early brass instruments from Toulouse, who over the years have collaborated with some of the most admired period groups, and have been the recipients of many awards.

The audio recording, engineered by Gary Cole, who has recently been named Hon. RSCM (Royal School of Church Music) for his dedicated efforts over the years producing some of the finest choral and organ recordings, accurately captures not only the sonic qualities of the dual forces involved, but also the scope and open space of the Temple du Salin where the recording sessions took place. If you are looking for a recording that conveys the solemnity of Spanish Renaissance rites and worship, look no further.