FRANCISCO DE PEÑALOSA Missa Nunca fue pena mayor
Les Sacqueboutiers Ensemble Gilles Binchois Dominique Vellard
GCD 9223051 CD (digipak)
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Performing artists
Les Sacqueboutiers Jean-Pierre Canihac, cornett Philippe Canguilhem, shawm Daniel Lassalle, sackbut Laurent Lechenadec, dulcian
Ensemble Gilles Binchois Anne-Marie Lablaude, soprano David Sagastume, alto David Munderloh, tenor Dominique Vellard, tenor Tim Scott Whiteley, bass
Dominique Vellard, direction
Production details
Recorded in the Cathedral of Maguelone, France, in October 2010 Engineered and produced by Aline Blondiau Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Tess Knighton English Français Deutsch Español
Links & downloads
Commercial release sheet (PDF)
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FRANCISCO DE PEÑALOSA (c.1470-1528)
Missa Nunca fue pena mayor
01 Sacris solemniis (hymn, “in festo Corporis Christi”) 02 Memorare Piissima (motet) 03 Missa Nunca fue pena mayor: Kyrie 04 Missa Nunca fue pena mayor: Gloria 05 Tiento XIX (Julius de Modena, instr.) 06 Missa Nunca fue pena mayor: Credo 07 O bone Iesu (motet, instr.) 08 Tribularer (motet) 09 Missa Nunca fue pena mayor: Sanctus 10 Ave vera caro Christi (motet) 11 Missa Nunca fue pena mayor: Agnus Dei 12 Transeunte Domino (motet) 13 Tres II (anonymous, instr.) 14 In passione positus Iesus (motet)
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El gran interés de Dominique Vellard por la música renacentista de la Península Ibérica se viene demostrando a través de sus conciertos y grabaciones con el Ensemble Gilles Binchois desde hace ya tres décadas. Ahora, su experiencia y profunda comprensión de este repertorio impregnan una nueva grabación para Glossa de la Missa Nunca fue pena mayor de Francisco de Peñalosa, un compositor al que Vellard considera como «de extrema importancia, un auténtico ‘clásico’ del Renacimiento español muy anterior a Cristóbal de Morales»
Además de la Misa, considerada como la obra cumbre de Peñalosa, Vellard añade una selección de motetes e himnos, que incluye no sólo Sacris solemniis, sino también Memorare Piissima, cuya atribución a nuestro compositor ha sido largamente debatida. Dominique Vellard y los otro cuatro cantantes elegidos especialmente para este repetorio cuentan para esta grabación (realizada en la Catedral de Maguelone) con la colaboración de Les Sacqueboutiers, excepcional conjunto de vientos con sede en Toulouse que dirigen Jean-Pierre Canihac y Daniel Lassalle.
Este nuevo disco de Glossa, que vuelve a demostrar la habilidad y acierto del sello a la hora de afrontar la música antigua española, significa una importante aportación a la escasa discografía disponible de Francisco Peñalosa. Completan esta edición un iluminador ensayo de la mayor especialista en la materia, Tess Knighton, y un espectacular detalle en portada de un cuadro de un contemporáneo de Peñalosa, Pedro Machuca.
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...]