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)
Acerca de este CD
Desde 1979, Dominique Vellard ha sido el gran motor creativo que ha dotado de inspiración permanente al Ensemble Gilles Binchois. Son ya casi tres décadas de investigación e interpretación, durante las que el conjunto ha producido algunas de las grabaciones esenciales del repertorio medieval y del primer Renacimiento. En tiempos más recientes, los intereses de Vellard han alcanzado también a otros repertorios –del sur y del norte de la India, así como las tradiciones hispánicas y bretonas–, aparte de su abierta pasión por compositores como Claudio Monteverdi o el menos conocido Guillaume Nivers. En todas estas exploraciones vocales, el propio Vellard marca el camino con su inconfundible voz de tenor. Sin embargo, en su primera colaboración con Glossa –que subraya, por otro lado, el deseo del sello de apoyar nuevas visiones artísticas–, Vellard muestra otra faceta más de su inquietud musical: en Vox Nostra Resonet, encontramos cinco de sus propias obras vocales (todas creadas para una pequeña selección de voces de su Ensemble Gilles Binchois). Son composiciones que parten de textos religiosos de gran profundidad, en las que Vellard vuelca sus propias experiencias espirituales a través de un lenguaje basado en su interés y conocimiento de las tradiciones monódicas y polifónicas tanto de Occidente como de Oriente. Estos procesos compositivos se documentan en el excelente artículo que se incluye en el libreto de este disco sobrecogedor y diferente.
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...]