Carole qui veniens[5’34]
1
Carole qui veniens a Caesare[2’25]
2
En tibi gratantes[3’09]
Missa Rex Babylonis[32’55]
3
Kyrie I[1’19]
4
Christe[1’16]
5
Kyrie II[1’45]
6
Gloria in excelsis Deo[3’35]
7
Qui tollis peccata mundi, miserere[3’18]
8
Credo in unum Deum[2’55]
9
Et incarnatus est[1’12]
10
Crucifixus[0’47]
11
Et resurrexit tertia die[1’46]
12
Et iterum venturus est[4’55]
13
Sanctus[1’34]
14
Osanna I[1’07]
15
Benedictus[1’32]
16
Osanna II[1’01]
17
Agnus Dei I[2’24]
18
Agnus Dei II[2’29]
19
Es wel uns Gott genedig sein[2’38]
Laudate Dominum[4’35]
20
Laudate Dominum omnes gentes[2’27]
21
Gloria Patri, et Filio[2’08]
Timete Dominum[4’42]
22
Timete Dominum omnes sancti eius[2’04]
23
Divites eguerunt et esurierunt[2’38]
Credo quod redemptor[5’55]
24
Credo quod redemptor meus vivit[4’44]
25
Reposita est haec spes mea[1’11]
26
Carole cui nomen[5’19]
Rex Babylonis[9’13]Jacobus Vaet (c1529-1567)
27
Rex Babylonis venit ad lacum[4’24]
28
Tunc rex ait[4’49]
However cultivated the European centres of Habsburg imperial power may have been, few could regularly have boasted musicians of the calibre of Cinquecento. Their ongoing exploration of Franco-Flemish repertoire from the sixteenth century uncovers major works by Johannes de Cleve and Jacobus Vaet.