Hans Schrems - Palestrina: Missa (Tu Es Petrus), Missa (Assumpta Est Maria) (front cover) Vinyl

Palestrina: Missa (Tu Es Petrus), Missa (Assumpta Est Maria) (1966) Vinyl

$6.99
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Hans Schrems - Palestrina: Missa (Tu Es Petrus), Missa (Assumpta Est Maria) (front cover) Vinyl

Palestrina: Missa (Tu Es Petrus), Missa (Assumpta Est Maria) (1966) Vinyl

$6.99

Catalog Number:

ARC-73241

Musical Styles:

1960s, Canon, Gregorian Chant, Mass, Motet

Sleeve Grade:

Very Good Plus (VG+)

Record Grade:

Excellent (EX)

Condition Details:

Booklet included. Import from Germany. Vinyl plays with occasional light-crackles (play-graded). Cover has a few creases near edges, scuffing and discoloration with darker spots (front/back). Inner-sleeve is poly-lined paper; small tear from center hole. Spine is easy-to-read with mild-wear. Some shelf-wear along top/bottom-edge and corners. Opening shows signs of use and divots. (Not a cut-out.)


Tracks:

  1. Missa "Tu Es Petrus"
  2. Missa "Assumpta Est Maria"

About The Record:

Palestrina: Missa (Tu Es Petrus), Missa (Assumpta Est Maria), by Hans Schrems, is a 1966 recording featuring the Regensburg Cathedral Choir performing two six-voice parody masses by Giovanni Pierluigi da Palestrina, exemplifying the composer's masterful Renaissance polyphony and serene contrapuntal style that has long influenced sacred music. The Missa "Tu Es Petrus" draws its material from Palestrina's motet on the text "Thou art Peter," a thematically significant choice tied to the Feast of Sts. Peter and Paul, while Missa "Assumpta Est Maria" is based on a motet honoring the Assumption of the Virgin Mary, highlighting Palestrina's skill in adapting motets into full cyclic masses. Conducted by Hans Schrems, this interpretation by the renowned boys' choir brings a distinctive clarity and purity of tone characteristic of the Regensburger Domspatzen's tradition in early music performance. As a classical choral recording of Renaissance repertoire, it lacks individual popular songs or fan-favorites in the modern sense, with the masses appreciated as cohesive liturgical works rather than for standalone tracks.

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