Sacred repertoire a cappella

Polyphony before Palestrina
Mottets by Franchino Gaffurio (1451-1522), Josquin Des Près (1440?-1521), Thomas Tallis (1505-1585) and others intercalated with Gregorian chants.
If ye love mee - A comparison between English and Italian renaissance polyphonic schools
Sacred polyphony of the Roman (Nanino, Victoria, Palestrina, Anerio) and English school (Tallis, Byrd) in the golden century for sacre music.
A Missa in the sixteenth century in Rome: Tomas Luis de Victoria's "O quam gloriosum est regnum" (1548-1611)
The great spanish composer's Missa (1548-1611) (which worked many years in Rome) with mottets and hymns.
Palestrina and his times
Mottets cum choro plena voce from the Giovanni Pierluigi da Palestrina's Second Book of four voices mottets (1525/6-1594) followed by mottets by Tomas Luis de Victoria (1548ca-1611), Giovanni Francesco Anerio (1567-1630) and Giovanni Maria Nanino (1544-1607).
Dum esset summus Pontifex: a Palestrina's Missa in Rome at the end of sixteenth century
The great roman composer Missa "Dum Esset summus Pontifex" intercalated by his mottets and by mottets of Tomas Luis de Victoria (1548ca-1611), Giovanni Francesco Anerio (1567-1630), Giovanni Maria Nanino (1544-1607).
"Feria Quinta in Coena Domini": Marcantonio Ingegneri's music for the Maundy Thursday liturgy (1547-1592)
A liturgycal reconstruction of the Monteverdi Teacher's Maundy Thursday music. This is the program included in one of our recordings
"Via Crucis" by Liszt
The hungarian composer's masterpiece, the result of the path of conversion that marked the last years of his life. The celebration/concert is accompanied by other sacred musical pieces and texts by Mario Luzi, specially commissioned by Pope John Paul II for Via Crucis in Rome. The program can also be inserted in a liturgical celebration.
Renaissance vs. Contemporary
The ancient poliphony is both near and far to the contemporary one, represented by author like Bruno Bettinelli, Vytautas Miskinis, Eric Whitacre and Morten Lauridsen.