(last updated: June 2020)
“Mucho Morales” explores the magnetic influence that Josquin Desprez exercised in Spain. Josquin´s music might have began to spread in Spain through Cristobal de Morales, who as a singer of the Sistine Chapel choir, had the chance to actually get to know Josquin´s music. Although they might have never met, Morales regarded himself as the true inheritor of Josquin´s style. The year 2021 marks the 500th anniversary of Josquin´s death. Without a doubt, he was the most famous and influential composer of his generation. His fame lasted for decades, even centuries after his death, and in Spain he became an absolute idol. In his “Missa de Beata Virgine” a 4, Morales deliberately, almost ostentatiously, imitates Josquin. In his Declaración de instrumentos musicales (1555), Juan Bermudo, the most influential Spanish theoretician of the 16th century, includes the “excellent” Morales among the “foreigners”.
Al final del Camino
At the end of the Camino de Santiago, the pilgim´s way, you´ll find the ancient Kingdom of Galicia and its five cathedrals: Lugo, Mondoñedo, Ourense, Tui and Santiago de Compostela. Their archives are full of musical jewels, many of them hitherto unknown, or ignored. Our program brings to light a selection of them; real pearls of the Spanish Baroque. Some of them are dedicated to Saint James the Greater. Ordóñez, Martínez de Arce, Logroño, Méndez, they are all forgotten masters whose works are the fruit of an age of splendour for arts and culture in the Iberian Peninsula. The year 2021 is Holy Year, the Ano Santo Xacobeo.
The Book of the Lamentations is a collection of poetic laments for the destruction of Jerusalem by Babylon in 586 BC. The book is traditionally recited on during Tenebrae of the Holy Triduum, that is, during the night service of the three days preceding Easter. Our program presents a selection from four of the most outstanding composers of the 16th century: Lobo, Victoria, Morales and Ruimonte. Perhaps is Pedro Ruimonte the lesser known of the four; he worked between 1601 and 1614,at the court of Albert VII, Archduke of Austria and Isabella Clara Eugenia, sovereigns of the Habsburg Netherlands. In 1607 Ruimonte published his Lamentatione in Antwerp by music publisher Phalesio, and dedicated it to Philip III. Aesthetically, they are in the line of Morales and Victoria, and although written in the then arcaic stile antico, they have the unmistakable taste of the baroque. The Lamentations in Spain, unlike the rest of Europe, are not mostly based on autocton medieval melodies, despite the abolition of the Old Hispanic Rite in the Iberian Peninsula
Codex Lerma. The Found Manuscript
Codex Lerma is a choir book copied in Spain at the end of 16th century. It once belonged to the music library of the Collegiate church of Lerma Burgos, Spain), founded by Duke of Lerma in 1607. It is currently housed in the library of the University of Utrecht (The Netherlands). In the 1950s, Maarten A.Vente, lecturer and curator at the Musicology department of the University of Utrecht, "found" it lying in the sacristy of Lerma´s church. Its keeper had little much use for the old and tattered codex, and in 1959 was bought and brought to The Netherlands, thus being saved from further deterioration. It contains mostly Franco-Flemish chansons, some Italian madrigals, a bunch of motets, and a number of instrumental dances. Besides Clemens, Gombert, Crequillon or Verdelot, there are also some virtually unknown composers such as Giovan Leonardo Primavera and Jacopo Corfini. We performe this program In collaboration with Spanish ensemble La Caravaggia, combining instrumental and vocal versions of the pieces. Read more...