(Classical sacred) de Penalosa - Lamentationes ; P. de Escobar - Stabat mater dolorosa ; Guerrero - Quae est ista; Antes que comais a Dios (New York Polyphony) - 2019, FLAC (image+.cue) lossless

Francisco de Peñalosa
Lamentationes
Francisco de Peñalosa (c1470-1528)
Lamentationes Jeremiae Feria V
Pedro de Escobar (c1465-a1535)
Stabat mater dolorosa
Francisco de Peñalosa (c1470-1528)
Lamentationes Jeremiae Feria VI
Missa L'homme armé: Gloria in Excelcis Deo
Sancta Maria succure miseris
Unica est columba mea
Missa L'homme armé: Credo in unum Deum
Francisco Guerrero (1527/28-1599)
Quae est ista
Antes que comáis a Dios
Francisco de Peñalosa (c1470-1528)
Missa L'homme armé: Agnus Dei
New York Polyphony:
Geoffrey Williams - counter-tenor
Steven Caldicott Wilson - tenor
Christopher Dylan Herbert - baritone
Craig Phillips - bass
Recording Date: June, 2018
Recording Location: Princeton Abbey, Princeton, New Jersey, USA
Audio CD (27 Sept. 2019)

Exact Audio Copy V1.2 from 12. August 2016
EAC extraction logfile from 13. October 2019, 14:08
New York Polyphony / Lamentationes
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       10  | 52:52.64 |  3:48.11 |    237964    |   255074
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REM DATE 2018
REM DISCID 900D490A
REM COMMENT "ExactAudioCopy v1.2"
CATALOG 7318599924076
PERFORMER "New York Polyphony;"
TITLE "Lamentationes"
FILE "Francisco de Peñalosa - Lamentationes.flac" WAVE
  TRACK 01 AUDIO
    TITLE "DE PEÑALOSA - Lamentationes Jeremiae Feria V"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907010
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "DE ESCOBAR - Stabat mater dolorosa"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907020
    INDEX 01 11:42:46
  TRACK 03 AUDIO
    TITLE "DE PEÑALOSA - Lamentationes Jeremiae Feria VI"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907030
    INDEX 01 16:00:38
  TRACK 04 AUDIO
    TITLE "DE PEÑALOSA - Gloria in excelsis Deo (Missa «L’homme armé»)"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907040
    INDEX 01 27:31:54
  TRACK 05 AUDIO
    TITLE "DE PEÑALOSA - Sancta Maria, succurre miseris"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907050
    INDEX 01 32:22:60
  TRACK 06 AUDIO
    TITLE "DE PEÑALOSA - Unica est columba mea"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907060
    INDEX 01 34:51:10
  TRACK 07 AUDIO
    TITLE "DE PEÑALOSA - Credo in unum Deum (Missa «L’homme armé»)"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907070
    INDEX 01 37:24:70
  TRACK 08 AUDIO
    TITLE "GUERRERO - Quae est ista"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907080
    INDEX 01 44:57:27
  TRACK 09 AUDIO
    TITLE "GUERRERO - Antes que comáis a Dios"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907090
    INDEX 01 50:25:08
  TRACK 10 AUDIO
    TITLE "DE PEÑALOSA - Agnus Dei (Missa «L’homme armé»)"
    PERFORMER "New York Polyphony"
    ISRC SEAEA1907100
    INDEX 01 52:52:64

Renaissance music from Spain has come to mean the works of composers such as Tomás Luís de Victoria or Francisco Guerrero rather than their predecessors. But Francisco de Peñalosa and his contemporaries were musicians of genuine imagination and skill, whose work often shows a formidable individuality. The most recent edition of Peñalosas oeuvre lists 22 works as genuine: masses, lamentations, hymns and motets. From these, New York Polyphony have selected two highly expressive Lamentations, intended for services held during Holy Week and setting biblical texts bemoaning the destruction of Jerusalem in 586 BC. Both of these are recorded for the first time. Besides two brief motets, Peñalosa is also represented by sections from his Missa Lhomme armé, one of the many examples from the 15th to the 17th century of cyclic masses based on secular melodies. These pieces by Peñalosa are brought into relief by shorter works by his near-contemporary Pedro de Escobara deeply haunting setting of the beginning of the hymn Stabat Mater and the aforementioned Francisco Guerrero.

AllMusic Review by James Manheim  [-]
The music of Spanish composer Francisco de Peñalosa, a generation older than Morales and 75 years or more ahead of Victoria, has only recently been rediscovered for the most part. On the evidence here it's wonderful, and casual listeners will be delighted to find that the dark sound characteristic of Spanish sacred music was very much present even at this early date. Sample the Lamentationes Jeremiae (Lamentations of Jeremiah), which fits the low male voices of New York Polyphony nicely. This quartet necessarily sings the music with one voice per part, which isn't ideal; Renaissance choirs were demonstrably larger. However, in this gloomy, intimate music the approach works reasonably well, and the ensemble is to be credited for taking on unfamiliar repertory. There are also two sections of a Peñalosa mass, motets by this composer, a pair of works by Francisco Guerrero, and a Stabat mater by the even earlier and more obscure Pedro de Escobar. BIS engineers have always presented this group effectively; here they choose the acoustically appropriate environment of Princeton Abbey with strong results. Recommended.