sin IVA
Missa en Re major | Stabat Mater | Quomodo Obscuratum Est | Lauda Jerusalem

Josep Mir i Llussà achieved some of these most prestigious positions in Segovia (1731-1741), Valladolid (1741-1750) and Madrid (1751-1764). In this stage in Madrid, Mir was mixed with the most influential persons of the court: José de Nebra, Jaume Casellas, José Ripa and the Italians Francesco Corselli and Nicola Conforto. His main task was always the composition of church music, materialized in an impressive catalogue of works and in its dissemination throughout the Spanish and Latino American geographies.

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Lluís Vilamajó, tenor
LA XANTRIA, Pere Lluís Biosca

This recording shows four contrasting pieces both in style and in scoring: a mass of great format with soloists, choir and orchestra (Missa a 8, 1760), a lamentation for a solo tenor and orchestra (Quomodo obscuratum est, 1753), a Stabat mater written a capella (1756) and a psalm for a double choir and small orchestra (Lauda Jerusalem).


Missa a 8 en Re major (1760)
01. Kirie: Largo – Vivo
02. Gloria: Andante
03. Laudamus te: Andante - Domine Deus: Allegro
04. Qui Tollis: Staccato
05. Qui sedes: Andantino
06. Cum Sancto Spiritu: Largo – Vivo
07. Credo: Andante
08. Et incarnatus: Despacio
09. Crucifixus: Despacio
10. Et Rexurrexit: Andante
11. Sanctus: Allegretto/Allegro
12. Benedictus: Giusto
13. Agnus Dei
14. Stabat Mater a 8 “sobre otro a 4 de Arze” en Sol menor(1756)
Stabat mater dolorosa
O quam tristis et afflicta
Qui non posset Contristari
Quoe moerebat et dolebat
Eya mater fons Amoris
Aleph Quomodo obscuratum est en Sol major (1753) Lectio 2ª in Sabato
15. Andante non tropo
16. Vivo: daleth
17. Andante: Adhesit lingua lactentis
18. Tempo Giusto: He, he quives cebantur Voluptuose interierunt – Jerusalem
19. Despacio: Jerusalem
20. Psalmo Lauda Jerusalemen La major
Lauda Jerusalem
Gloria – Vivo