João José Baldi – Missa para Coro, Solistas e Orquestra

CD BaldiMissa para Coro, Solistas e Orquestra

“Fenómeno raro em Portugal, a Câmara da Guarda edita amanhã à noite o registo digital do concerto “Missa para Coro, Solistas e Orquestra”, de João José Baldi. Uma peça escrita em 1801 e que teve estreia moderna na Sé no passado dia 27 de Novembro pela Orquestra Filarmonia das Beiras, Coro Aeminium e sete solistas, sob a batuta do maestro António Vassalo Lourenço. Um recital magistral que coroou as celebrações dos 804 anos da cidade e proporcionou a gravação para a posteridade de uma autêntica obra-prima da música erudita nacional, escondida até então no parco espólio musical da Catedral que sobreviveu às invasões francesas. (mais…)

Musique à la Cathédrale d’Oaxaca

Parmi ses multiples trésors, la Cathédrale d’Oaxaca possède dans ses archives le fameux manuscrit musical de Gaspar Fernandes, ainsi que nombre d’œuvres du compositeur Manuel de Sumaya qui y termina sa vie en 1756, après avoir été le plus prestigieux maître de chapelle de la Cathédrale métropolitaine de Mexico.

Bien qu’un siècle les sépare, Gabriel Garrido a voulu réunir ces deux grands compositeurs néo-hispaniques dans cet enregistrement qui témoigne de la vitalité de la création musicale sacrée en Nouvelle-Espagne. (mais…)

The Sixteen’s “Palestrina Series” Vol. 1

Harry Christophers, director of English choir The Sixteen, talks about the first volume of a series dedicated to the music of Giovanni Pierluigi da Palestrina.

This looks like a very interesting project: “one of the aims of the series, Christophers says, is to achieve a ‘real ebb and flow’ in music, which can ‘sound all too perfect and occasionally academic’ “. This first volume comprises the Missa Assumpta est Maria, the motet of the same name, an Ave Maria, and a Salve Regina. Let’s hope there will be also some works as first recordings.

(mais…)

Lamentations

«Lamentations are lessons (that is to say collections of verses) taken from the Old Testament book The Lamentations of Jeremiah. Each verse of the text is prefaced by successive letters of the Hebrew alphabet (Aleph, Beth, Ghimel, Daleth, He etc.). Lamentations were used within the old Roman Catholic liturgy during Holy Week as part of the night-time office of Matins (otherwise known as Tenebrae, literally ‘darkness’). This nocturnal usage elicited some of the most sombre and darkly expressive writing from those Renaissance composers who set these texts. The verses were generally set simply and syllabically; by contrast, the Hebrew letters which punctuate the verses were set melismatically and expansively, thereby fulfilling a musical function similar to that of illuminated initials in a medieval manuscript. (mais…)

Luís de Freitas Branco – Orchestral Works Vol. 4

«Luís de Freitas Branco’s symphonies, with their somewhat Franckian cyclical forms (and sometimes melodies), are more conservative than his impressionist, cutting-edge orchestral works from the turn of the 20th century. Vathek is one such, an amazing, luscious, exotic tone poem in the form of a theme and variations. Unperformed until 1950, just five years before the death of its composer, it is a masterpiece, and one of the most remarkable works of its era (there’s a variation written with something like 59 string parts, almost an anticipation of Messiaen or Ligeti).

In the Fourth Symphony (1944–52) Branco recaptures his youthful fire. The work mixes the modal melodies of Gregorian chant with tangy dissonances and supple, Latin rhythms. The result recalls the Hindemith of, say, Nobilissima Visione, though the scoring is quite different and the handling of form more traditional (save in the multi-sectional finale). Certainly this is the finest of the composer’s four symphonies, and a wonderful work by any measure. (mais…)

Gaspar Fernandes – Códice de Oaxaca

El Cancionero Musical de Gaspar Fernandes es llamado “uno de los tesoros más espectaculares de cualquier catedral del hemisferio occidental” según las palabras de Robert Stevenson. Se trata de un grueso volumen manuscrito de 280 folios que contiene 301 composiciones escritas de 1609 a 1616. Lo llevó de Puebla a Oaxaca el cantor Gabriel Ruiz de Morga quien había pertenecido a la capilla musical de la catedral poblana. Su valor como códice radica en que es el más antiguo testimonio manuscrito del repertorio de villancicos y chanzonetas de toda América… (mais…)