Robert Parsons (~1535–1571/72):
Ave Maria

Jonathan Battishill (1738–1801):
O Lord, look down from heav’n

John Blow (1648–1708):
Salvator mundi

Thomas Tomkins (1572–1656):
When David heard

Richard Dering (~1580–1630):
Factum est silentium aus:
Cantica Sacra (1618)

Thomas Weelkes (~1576–1623):
Gloria in excelsis Deo

William Byrd (~1539/40–1623):
Agnus Dei aus:
Mass for four voices

Philips, Peter (~1560–1628?):
Ascendit Deus aus:
Cantiones sacrae (1612)

Thomas Morley (1557/58–1602):
Nolo mortem peccatoris

Thomas Tallis (~1505–1585):
Salvator mundi aus:
Cantiones (1575)

John Stainer (1840–1901):
God so loved the world aus:
The Crucifixion (1887)

Orlando Gibbons (1583–1625):
Almighty and everlasting God aus:
Barnard, First book of selected

Adrian Batten (1591–1637):
O praise the Lord aus:
Barnard, First book of selected church musick (1641)

William Crotch (1775–1847):
How dear are thy counsels

Maurice Greene (1696–1755):
Lord, let me know mine end

Charles Hubert Hastings Parry (1848–1918):
My soul, there is a country. Six Songs of Farewell Nr. 1 (1916)

The choral tradition of British cathedrals and universities is world famous. Over the centuries, an immense trove of musical treasures came into being on the British Isles: euphonious choral settings which, in the meantime, have become increasingly popular on the European continent. The figuralchor köln conducted by Richard Mailänder has recorded some of the most beautiful motets and anthems in the original language. The settings by notable composers such as Thomas Tallis, William Byrd and Charles Villiers Stanford provide a comprehensive overview of the long tradition of English sacred choral music from the 16th to the 19th century.