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  • ART::MUSIC
    • 2023-2024 Concerts >
      • The Most Famous Motet
      • The Treasury of Petrus Alamire
      • Ein Kind ist uns geboren!
      • Appear and Inspire
      • The Singing Walls
      • Two Tall Tales
      • The Most Ambitious Project
    • Learning and Exploration >
      • Brombaugh Organ Exploration
      • BachTalks
      • The Choir Loft >
        • The National Anthems by David Lang - Steve Osborn
        • Heinrich Schütz Symphoniae Sacrae I from 1629
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
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Justorum Anime by Orlande de Lassus
Some of you may recall that when I sent out last week's motet, William Byrd's 'Justorum animae', I promised that this week's piece would be a setting of the selfsame text by the great Orlande de Lassus. Accordingly I attach herewith a score, a text sheet and a wonderful recording by the Lassus Consort of this remarkable setting.

To me it seems less subjective and more Apollonian than the Byrd; not that it's not expressive--certainly not that--but I guess I'd say differently expressive. The central thought, that the souls of our dear departed ones are at peace resting in the hand of God, is brilliantly conveyed through the character of the music itself: Calm, measured, infinitely reassuring. The only thing that seems remotely madrigalian is the amazing ending, with its glistening chords, progressing peacefully by fourths to the finish.

But don't overthink it. Just listen, with an open heart; and repeat, as many times as desired. It may well make your day.

As with the Byrd, this one is a keeper. You'll hear it--and perhaps sing it--
​in a future Sonoma Bach concert for sure.
Click here to download learning materials
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