SUPREMUM EST MORTALIBUS BONUM Guillaume Dufay
Cantica SymphoniaGiuseppe Maletto
GCD P31904
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Performing artists
Cantica SymphoniaGiuseppe Maletto, direction
Alena Dantcheva Laura FabrisMaria Teresa Nesci Gianluca FerrariniFabio Furnari Guido Magnano Marta GraziolinoSvetlana Fomina Efix Puleo Mauro MoriniDavid Yacus et al
Production details
Total playing time: 78'16’’Recorded at Chiesa del Colletto, Roletto, Italy,in August and October 2005, and inSeptember 2006Engineered by Davide FiccoProduced by Sigrid LeeExecutive producer: Carlos CésterDesign: Valentín Iglesias (00:03:00)Booklet essay: Guido MagnanoEnglish Français Italiano Deutsch Español
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Commercial release sheet (PDF)
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GUILLAUME DUFAY (1397-1474)
Supremum est mortalibus bonum
1 Supremum est mortalibus bonum2 Rite maiorem Iacobum canamus3 O beate Sebastiane4 O sancte Sebastiane5 Magnam me gentes lauda paciare, Minerva6 Aver regina celorum (I)7 Ave virgo, que de celis8 Fulgens iubar ecclesie dei9 Mirandas parit hec urbs florentina puellas10 Ave regina celorum (II)11 O gemma, lux et speculum12 O proles Yspanie13 Moribus et genere Cristo coniuncte14 Ave regina celorum
About this CD
With this disc, Giuseppe Maletto and Cantica Symphonia complete their ‘Dufay trilogy’ on Glossa: two volumes of motets and one of chansons (Tempio dell’Onore e delle Vertù, GCD P31903). These musicians (singers and instrumentalists), many of them members of the various configurations of La Venexiana, represent the best possible interpreters today for communicating this timeless and moving music: motets indelibly linked to the power struggles that, in the first half of the fifteenth century, convulsed the politics of European powers and of the Roman Catholic Church – with the Church’s great Councils, attended by Guillaume Dufay, as the settings for glorious and evocative compositions. Together with Quadrivium (GCD P31901), this new release sees Cantica Symphonia traversing all the currently attributed motets by Dufay – works written to set the seal on historic occasions as well as those with liturgical texts. The accompanying essay admirably captures the pervasive fifteenth century currents of Humanism and religious splendour.
For many years Cantica Symphonia has devoted much performing, musicological and recording energy over the music of the French composer Guillaume Dufay. Born at the dawn of the 15th century, Dufay’s musical career looked back to medieval conventions and forward to the early Renaissance. He was a much-travelled figure and was regularly present as musician, composer and emissary of church and secular powers at the many Ecumenical Councils held by the Roman Catholic Church during these turbulent political times. Dufay was often called on to write motets for important occasions such as the dedication of the Duomo of Florence – Nuper rosarum flores – or an especially critical meeting between the Pope, Eugenius IV and the Emperor, Sigismund – Supremum est mortalibus bonum (the names of both these two are to be found within the words of the motet). [read more...]