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Crux fidelis 
 In ieiunio et fletu
Kyrie
Pia et dolorosa mater
Versa est in luctum
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King's Singers, The: The Golden Age - Siglo de Oro (2008 CD)
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Portugese, Spanish and Mexican music imbued with religious sensuousness from the 16th Century - the Siglo de Oro - performed by the world's most prestigious a cappella ensemble.
From the King's Singers:
As we recorded we ran out of superlatives to describe the quality of this music, full of Iberian Catholic flavour and colour, and imbued with a religious sensuousness. It shows composers writing at the height of their skills in rich, powerful countries confident of their standing both in Europe and the New World. This music might be associated with death and mourning, but it is exceptionally beautiful, and we hope our performances can move your souls as ours have been moved. (Notes taken from the site of King's Singers US tour representative, DJ Records.) Read more notes about this recording below the song list....
Further information on The King's Singers can be found at www.kingssingers.com
Song List:
1. Crux fidelis King John IV of Portugal (1604-56)
2. Kyrie (Mass Mille Regretz) Cristóbal de Morales
(ca.1500-53)
3. Versa est in luctum Tomás Luis de Victoria (1548-1611)
4. In ieiunio et fletu Diogo Dias Melgas (1638-1700)
5. Versa est in luctum Sebastián de Vivanco (ca.1550-1622)
6. Lamentations Alonso Lobo (1555-1617)
7. Versa est in luctum Juan Gutiérrez de Padilla (ca.1590-1664)
8. Pia et dolorosa mater Diogo Dias Melgas
9. Versa est in luctum Alonso Lobo
10. Libera me Alonso Lobo t
Notes from the King's Singers about "Siglo De Oro"
For a group like ours the choice of repertoire for recording often seems bewilderingly large. So why did we choose Portugese, Spanish and Mexican music from the period known as the Siglo de Oro - The Golden Age?
The idea came from our church concert programmes, where acoustics, space and atmosphere allow great scope for drama. Beginning at the back of the church with "Crux fidelis" and slowly moving eastwards as the piece unfolds, has proved to be a magical way to start. More than one audience member has told us that if the concert had ended after that one piece, they would have gone home happy. But that would have denied them the chance of hearing one of the most famous pieces from this era - Alonso Lobo's incredible version of "Versa est in luctum, " which often closes the first half of the concerts. With our appetites whetted we then drew on collective knowledge and experience. The King's Singers album "Fire Water" (2000) had included a "Benedictus" by Morales and the "Lamentations of Juan Gutierrez de Padilla," two composers we felt must be represented. Delving into the memory banks brought out a surprisingly large number of settings of the "Versa est in luctum text." The musical references in it to harp, organ, and voices of weeping undoubtedly endeared it to composers, and we chose three more to accompany Lobo's. You will be able to hear a bajón - the precursor to
the bassoon - playing in these settings and in other pieces besides. It provides an authentic sound, giving a special quality that immeasurably enhances the performances. We are very grateful that Keith McGowan was able to join us to play in the sessions.
Looking through our personal music collections next allowed us to rediscover the music of Melgas, whose quirky compositional style, sounding like a precursor to Bruckner, immediately endeared itself to us. But more searching was needed to make a satisfying album programme. That search ended when we found Alonso Lobo's wonderful "Lamentations," and his "Libera me," which, if "Crux fidelis" provides the processional, gives us the recessional. Like much of the music on this album, the "Lamentations" has an intensity that no
doubt starts with the text, but then permeates the music with a dark richness. Lobo reserves his most imaginative writing for the setting of the Hebrew letters, as effective a musical representation of tear drops running down a face as you could wish to hear. The unexpected chord progressions show a sense of harmonic freedom that reminds us of another one of our albums - Gesualdo's Tenebrae Responsories (2004).
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