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San Marco in Hamburg - Weser-Renaissance; Manfred Cordes (conductor)
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  1. Jubilate Deo omnis terra, motet for 12 voices (Cantiones sacrae 1607, No. 62)
  2. Ecce Dominus veniet, motet for 8 voices (Cantiones sacrae 1599, No. 1)
  3. Hodie Christus natus est, motet for 6 voices (Cantiones novae 1625, No. 11)
  4. Ab oriente venerunt Magi, motet for 5 voices (Cantiones sacrae 1599, No. 13)
  5. Nunc dimittis, motet for 8 voices (Cantiones sacrae 1599, No. 15)
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  1. Jubilate Deo omnis terra, motet for 12 voices (Cantiones sacrae 1607, No. 62)
  2. Ecce Dominus veniet, motet for 8 voices (Cantiones sacrae 1599, No. 1)
  3. Hodie Christus natus est, motet for 6 voices (Cantiones novae 1625, No. 11)
  4. Ab oriente venerunt Magi, motet for 5 voices (Cantiones sacrae 1599, No. 13)
  5. Nunc dimittis, motet for 8 voices (Cantiones sacrae 1599, No. 15)
  6. O bone Jesu, motet for 6 voices (Cantiones sacrae 1599, No. 20)
  7. Magnificat quarti toni, motet for 8 voices (Magnificat octo tonorum 1602)
  8. Wie lang, o Gott, motet for 5 voices (Cantiones novae 1625, No. 5)
  9. Surrexit pastor bonus, motet for 5 voices (Cantiones sacrae 1599, No. 26)
  10. Ascendo ad patrem meum, motet for 6 voices (Cantiones sacrae 1599, No. 29)
  11. Hodie completi sunt, motet for 8 voices (Cantiones sacrae 1599, No. 30)
  12. Adesto unus Deus, motet for 5 voices (Cantiones sacrae 1599, No. 34)
  13. Cantate Domino canticum novum, motet for 8 voices (Magnificat octo tonorum 1602, No. 4)
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The title San Marco in Hamburg refers to the style of this group of Latin motets, composed by Hieronymus Praetorius and published between 1599 and 1625: Hamburg had several churches that were large enough to accommodate the polychoral style of Andrea and Giovanni Gabrieli, developed at Venice's St. Mark's cathedral, and that style had become known by this time even as far north as Hamburg. These motets, in Latin (German came for the most part later), aren't really precursors to Schütz's dramatic reimaginings of the ...

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