VOX NOSTRA RESONET New music for voices
Ensemble Gilles Binchois Dominique Vellard
GCD P32301
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Performing artists
Ensemble Gilles Binchois Dominique Vellard, director
Anne Delafosse, soprano Anne-Marie Lablaude, soprano Ana Isabel Arnaz de Hoyos, soprano Christel Boiron, mezzo Dominique Vellard, tenor Raitis Grigalis, baritone
Production details
Playing time: 60’28 Recorded at Église Notre-Dame de Talant and Église Saint Jean-Baptiste de Til-Chatel, France, between May 2003 and October 2005 Engineered by Robert Verguet, Pierre de Champs and Simon Weir Produced by Anne-Marie Vellard Executive producer: Carlos Céster Editorial assistant: María Díaz Art direction & design: oficina tresminutos 00:03:00 Booklet essay: Eugène de Montelambert Booklet in English-Français-Deutsch-Español
Links & downloads
Commercial release sheet (PDF)
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DOMINIQUE VELLARD
1-7 Les sept dernières paroles de Christ en Croix (1999)
8 Caligaverunt oculi mei (2005)
9-29 Stabat Mater (2004)
30 O vos omnes (2004)
31-34 Missa Laudes Deo (2003-2004)
About this CD
Since 1979 Dominique Vellard has been the inspirational driving force behind the Ensemble Gilles Binchois – nearly three decades of research and performance that have led to the creation of some of the essential recordings in the catalogue, especially of music from the medieval and early Renaissance periods. In more recent years, Vellard has expanded his interests into other repertories – Southern and Northern India, as well as Spanish and Breton traditions – and he also has quite a passion for composers such as Monteverdi and the lesserknown Guillaume Nivers. In all such vocal explorations he leads the way with his own distinctive tenor voice. However, for his first collaboration with Glossa – and for the label’s own desire to create new artistic visions – there is an additional facet of Dominique Vellard’s musical character on display. In Vox Nostra Resonet Vellard presents himself as the composer of five vocal works (all scored for a small number of voices from the Ensemble Gilles Binchois) for which he has turned to profound religious texts and draws deeply on his own spiritual learnings as much as his experience and interests in monodies and polyphonies from both the Western and the Eastern traditions. Vellard’s compositional process – reaching both inside and outside the Western tradition – is documented in an article accompanying this awesome and different disc.
Since starting making recordings for Glossa in 2007 Dominique Vellard has been demonstrating the broad range of interests which have been so influential over the thirty years of the career of his Ensemble Gilles Binchois and which help to make up this complex musical personality. From the earliest polyphonies interspersed with Gregorian Chant (in L’Arbre de Jessé and the reissued Music and Poetry in St Gallen) to 21st century compositions from Vellard himself and Jean-Pierre Leguay (in Vox nostra resonet and Motets croisés) by way of the 17th century polyphony of Monteverdi, Schütz and Frescobaldi, some of the facets of Vellard’s continuing interest in religious music have been reflected on the label. [read more...]
“It is the same effect as when you see the sun shining through stained-glass windows in a church: suddenly all the colours are singing.”
After nearly three decades of carving out a niche (as rich as Romanesque statuary found in the Burgundy where he lives and works), Dominique Vellard has returned with a new vigour for performing (and recording), whether it is with his colleagues from the Ensemble Gilles Binchois or as a solo singer. The tenor voice of this deeply-thinking musician has the capacity to explore and explain the messages and subtleties of liturgical traditions that range far beyond the Western tradition. [read more...]
I began to compose seriously back in 1999. Prior to that I always liked making song arrangements or fauxbourdons, or writing pieces ‘in the style’ of, for instance, 14th or 15th century songs. Very often in the medieval field, of course, we need to add some voices or to complete some defective parts. I had no real desire to compose – I didn’t think that it was my field. I was a singer, after all, and music from the past is so good, whether it was from composers of the 17th century or Ligeti. Then, one day, in Sheffield in England, I was asked by Peter Cropper of The Lindsays whether there were any chants in existence that could accompany Haydn’s Seven Last Words. On not finding any interesting pieces in the repertory and whilst being at home, I started writing three-part pieces – for my wife, my daughter and myself. I was I bit surprised to see that it was working and on finishing the compositions I found that they had some sense! [read more...]