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MORALIS HISPANI

Morales in his pre-Roman period and the “lost generation”

Obras: Cristóbal de Morales (ca. 1500-1553), magnificat, misa cortilla, motets; Lope de Baena, Pedro de Pastrana, Rodrigo Ordóñez and pieces from the Oporto Municipal Library

Formación: 6 vocal soloists, 2 dulcians/shawms, 2 sackbuts, organ, director (12 musicians)

Dates: Please, consult.

Cristóbal de Morales was the most internationally renowned Spanish composer of the sixteenth century: his works were published in numerous editions which were frequently found in the collections of the most well-known musicians of the day and were disseminated – in manuscript form – throughout Europe and Latin America. Morales achieved fame whilst in the service of the prestigious papal chapel between 1535 and 1545, rubbing shoulders with illustrious colleagues such as Constanzo Festa, Jacob Arcadelt and Ghiselin Danckaerts. This programme recovers the part of his repertoire once considered to have been written after his arrival in Rome but which in reality predates it. These works are accompanied by other instrumental and vocal pieces by Spanish composers of the generation between Encina and Guerrero whose output has remained practically unknown until now.

*Musicological recovery – Modern-day premiere

RUIMONTE IN THE 'ROYAL CHAPEL' AT BRUSSELS

Obras: Pedro Ruimonte (1565-1627), madrigals, villancicos and motets; John Bull and Peter Philips

Formación: 6 vocal soloists, theorbo, organ/ harpsichord, director (9 musicians)

Dates: Please, consult

During the sixteenth century and for part of the seventeenth, the Spanish Royal Chapel was formed and led by musicians from the Low Countries (Manchicourt, Turnhout, Rogier, Romero…) which, furthermore, was known as the "Flemish Chapel". However, the Zaragoza-born Pedro Ruimonte had the honour of becoming master of the chapel and of the chamber of the Archdukes Albert and Isabella Clara Eugenia, sovereigns of the territories ceded by Philip II (1598-1621). Ruimonte, who coincided at the court with other illustrious musicians such as Peter Philips, John Bull and Pieter Cornet, published three books of music in Antwerp (Pierre Phalèse). A selection of delightful madrigals and villancicos has been taken from his 1614 book, El Parnaso español.

'BETWEEN ADVENTURES AND ENCHANTMENTS'. MUSIC FOR DON QUIJOTE

IV CENTENARY OF THE DEATH OF MIGUEL DE CERVANTES (1616-2016)

Obras: Joan Pau Pujol, Carlos Patiño, Mateo Romero (Maestro Capitán), Tomás Luis de Victoria, Pedro Guerrero, Bernardo Murillo, Chacón, fray Jerónimo and anonymous - Texts: Miguel de Cervantes, fray Luis de Góngora, Lope de Vega, Jorge Manrique, Garcilaso

Formación: 5 vocal soloists (SSATB), 2 flutes, 2 viols, guitar/theorbo, harp, percussion, director (13 musicians)

Dates: Please, consult

This programme is a selection of music divided into two main sections. Firstly there is music familiar to Don Quijote: music from before 1605 with verse from old romances. As is well known, Cervantes’ hero is an anachronistic knight who lives his life through the prism of outmoded literary fiction - and so Cervantes makes reference to archaic music in certain passages in the novel. Secondly there is the music that Alonso Quijano - and Cervantes himself - would have listened to; which is to say music from the first decades of the seventeenth century. So we have picked up the thread of Cervantes’ narrative and taken certain passages that allow for the inclusion of different kinds of music and verse, as found in the poetic-musical songbooks of the time.

JUAN HIDALGO: MUSIC FOR THE PLANET KING

Obras: Juan Hidalgo (1614-1685), tonos, sacred villancicos and theatre music

Formación: 5 vocal soloists, 2 violins, viola da gamba, dulcian, harp, guitar/theorbo, organ, percussion, director (14 musicians)

Dates: Please, consult

Juan Hidalgo is one of the great figures of seventeenth century Spanish music. Author of the first Spanish operas, with texts by Calderón de la Barca, La púrpura de la rosa (1659) and Celos, aun del aire matan (1660), Hidalgo was the favourite musician at the court of Philip IV. The compositions that have come down to us include different genres of vocal music, religious and profane, as well as music for the theatre; works written in Spanish predominate (tonos and villancicos). This programme is a delight, the selection of work revealing that we are in the presence of one of the great musicians of his time.

*Musicological recovery

SEBASTIÁN DURÓN: THE LAST MASTER IN THE SERVICE OF THE SPANISH HABSBURGS

III CENTENARY OF THE DEATH OF SEBASTIÁN DURÓN 1716-2016

Obras: Sebastián Durón (1660-1716), sacred music in the vernacular (villancicos, tonos and solos)

Formación: 8 vocal soloists (SSAT, SATB), 2 violins, natural trumpet, double-bass, dulcian, harp, guitar/theorbo, organ, director (17 musicians)

Dates: Please, consult

2016 will see the third centenary of the death of the composer Sebastián Durón (1660-1716), one of the outstanding composers of the Spanish baroque. This is why La Grande Chapelle will recover a select choice of works from his extensive sacred repertoire in the vernacular (villancicos, tonos, solos), mainly composed for the Royal Chapel, where he worked as organist (1691) and chapel master (1701). Durón was also an outstanding figure in the development of theatre music (operas, zarzuelas, comedies), both as court entertainment and for the nobility. In 1706 he was forced to leave his post due to his support of Archduke Charles during the War of the Spanish Succession and was exiled to France where he was to end his days in the service of Queen Mariana of Neuburg (the widow of Charles II).

*Musicological recovery

SEBASTIÁN DURÓN: EASTER WEEK IN THE ROYAL CHAPEL (C. 1700)

III CENTENARY OF THE DEATH OF SEBASTIÁN DURÓN 1716-2016

Obras: Sebastián Durón (1660-1716), Miserere for 12 voices, 1st lamentation for Holy Wednesday, 2nd and 3rd lamentations from Good Friday

Formación: 10 vocal soloists, 3 violins, 2 traverse flutes, double bass, dulcian, harp, theorbo, harpischord and director (21 musicians)

Dates: Please, consult

The second homage to Durón on the centenary of his death focuses on the Easter Week repertoire as composed for services in the Real Alcázar in Madrid. The lamentations and miserere for 12 voices reveal a more modern and daring Durón who introduces new instrumentation including traverse flutes. In fact, Maria Anna of Neuburg encouraged the renewal of personnel and exchanges of repertoire and musicians with the court of her brother the Elector Palatine of Düsseldorf. This programme is an invitation to discover the inventiveness and the audacity in the vernacular works of one of the most distinguished Spanish Baroque composers.

*Musicological recovery – Modern-day premiere

JOSÉ DE NEBRA: STABAT MATER

Obras: José de Nebra (1702-1768), Stabat Mater, Salve Regina and solo lamentations; concerti by Baldassare Galuppi

Formación: 4 vocal soloists (soprano Eugenia Boix), 2 violins, viola, cello, double-bass, 2 flutes, theorbo, harpischord /organ and director (14 musicians)

Dates: Please, consult

 

José de Nebra (1702-1768) was one of the most important Spanish composers of the eighteenth century and the religious side of his work has long been of interest to the ensemble. Nebra was principal organist at the Royal Chapel from 1749 and its vice-master from 1751, at a time when Italian musicians predominated at the court (Farinelli, Corselli, Facco…). He was also heavily involved in dramatic works for the Madrid theatre. Nebra's disciples included Antonio Soler, José Lidón and his nephew Manuel Blasco de Nebra. The Stabat Mater of 1752, with its extraordinary melodic vein and marvellous balancing of voices with instrumentation, easily bears comparison with the work of Alessandro Scarlatti and Pergolesi.