Artistic director Lionel Meunier selected the iconic motet Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Writing for 40 voices implies a series of logistical and technical challenges. Tallis and Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. 

Artistic director Lionel Meunier selected the iconic motet Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Writing for 40 voices implies a series of logistical and technical challenges. Tallis and Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. 

Artistic director Lionel Meunier selected the iconic motet Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Writing for 40 voices implies a series of logistical and technical challenges. Tallis and Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. 

Mozart’s Mass in c minor, just like his Requiem, remained unfinished, but it is undeniably among the best of the religious repertoire. Mozart did not have an immediate reason, but it is likely that he wrote this mass for his beloved Constanze, whom he had just married. The exuberant character and complex passages probably echo a reaction to the break with Archbishop Colloredo, who imposed restrictions on Mozart composing church music. Familiar face Vox Luminis joins forces with B’Rock Orchestra and pairs Mozart’s masterpiece with Michael Haydn’s Requiem, yes, Joseph’s younger brother, who was a composer even Mozart looked on with great admiration!

Mozart’s Mass in c minor, just like his Requiem, remained unfinished, but it is undeniably among the best of the religious repertoire. Mozart did not have an immediate reason, but it is likely that he wrote this mass for his beloved Constanze, whom he had just married. The exuberant character and complex passages probably echo a reaction to the break with Archbishop Colloredo, who imposed restrictions on Mozart composing church music. Familiar face Vox Luminis joins forces with B’Rock Orchestra and pairs Mozart’s masterpiece with Michael Haydn’s Requiem, yes, Joseph’s younger brother, who was a composer even Mozart looked on with great admiration!

Mozart’s Mass in c minor, just like his Requiem, remained unfinished, but it is undeniably among the best of the religious repertoire. Mozart did not have an immediate reason, but it is likely that he wrote this mass for his beloved Constanze, whom he had just married. The exuberant character and complex passages probably echo a reaction to the break with Archbishop Colloredo, who imposed restrictions on Mozart composing church music. Familiar face Vox Luminis joins forces with B’Rock Orchestra and pairs Mozart’s masterpiece with Michael Haydn’s Requiem, yes, Joseph’s younger brother, who was a composer even Mozart looked on with great admiration!