Artist: Sistine Chapel Choir, Massimo Palombella
Album: Cantate Domino: La Cappella Sistina e la musica dei Papi
Genre: Classical
Release Date: 2015
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 59:01
Total Tracks: 16
Total Size: 1,14 GB

Tracklist:

Traditional
1. Rorate caeli desuper 2:18

Giovanni Pierluigi da Palestrina (1525 – 1594)
2. Ad te levavi 2:56

Orlando Di Lasso (1532 – 1594)
3. Magnificat VIII toni 3:47

Giovanni Pierluigi da Palestrina (1525 – 1594)
4. Lumen ad revelationem gentium (Nunc dimittis) 6:16
5. Super flumina Babilonis 3:07
6. Improperium exspectavit cor meum 3:23

Gregorio Allegri (1582 – 1652)
7. Miserere (Sistine Codex of 1661) 10:12
Traditional
8. Christus factus est pro nobis 2:35

Felice Anerio (1560 – 1614)
9. Christus factus est pro nobis 2:42

Tomas Luis de Victoria (1548 – 1611)
10. Popule meus (Improperia) 3:37

Giovanni Pierluigi da Palestrina (1525 – 1594)
11. Adoramus te, Christe 2:16
12. Sicut cervus 2:43
13. Angelus Domini 2:23

Orlando Di Lasso (1532 – 1594)
14. Iubilate Deo 1:33

Giovanni Pierluigi da Palestrina (1525 – 1594)
15. Constitues eos principes 2:40
16. Tu es Petrus 6:32

Download:

Cantate Domino, a 2015 release on Deutsche Grammophon, is the first commercial studio recording of the Sistine Chapel Choir, led by Massimo Palombella, which has until now been heard only in live recordings of varying quality. The program is a mix of Gregorian chants and motets that have long been a part of the Sistine Chapel’s liturgical music, including works by Giovanni Pierluigi da Palestrina, Orlande de Lassus, Felice Anerio, Tomás Luis de Victoria, and perhaps most famously, Gregorio Allegri, whose Miserere was once exclusively performed by the choir. This recording features the original fauxbourdon version of the Miserere, found in the Sistine Codex of 1661, which differs from later arrangements and adaptations in its austere simplicity and lack of abbellimenti or ornamentation, such as the famous “top C” passage which many might expect. The sound of the antiphonally divided choir may seem lopsided in this recording, since the remote singers are rather soft and distant in the chapel’s echoic acoustics, and the long reverberation time tends to blur their words, so following the enclosed text is helpful. ~~ AllMusic Review by Blair Sanderson