Erik Van Nevel

Conductor

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Rebelo: Psalmi, Magnificat & Lamentationes

Rebelo: Psalmi, Magnificat & Lamentationes


Rebelo:

Laetatus sum

Magnificat, Laudate pueri

Magnificat, Laudate pueri

Qui Habitat

Laudate Dominum

Cum Invocarem

Lamentationes


That a single note of Joao Laurenco Rebelo’s music has come down to us is thanks to two historical figures of great significance: Joao IV (1604-1656), king of Portugal, and Fortunato Santini (1778-1861), an Italian priest and lover of books.

Joao (or John) IV became king of Portugal in 1640 after a rebellion against Spain, which had occupied its neighbour for more than sixty years. As Spain did not accept this monarchy, the new king was faced with a great many political (and military) worries. Despite this, he showed a greater interest in music than in the affairs of state. In his native city, Vila Viçosa, the seat of the noble dynasty of Braganca to which he belonged, he was trained in music by Roberto Tornar (ca. 1587-1629), a Portuguese musician with English roots who himself had been a student of the Flemish composer Gery de Ghersem (ca. 1573/75-1630), one of the singers in the ‘capilla flamenca’ in Madrid under Philip II and Philip III, and later Kapellmeister to the archduke and archduchess Albrecht and Isabella in Brussels. At the court in Vila Viçosa, Duke Joao made the acquaintance of the singer Joao Rebelo, six years his junior, who had been engaged as a choirboy there in 1624. In 1640, Rebelo followed the king to the royal court in Lisbon. Joao IV was a enthusiastic collector of music, as is testified by the catalogue of his library, the first section of which (published in 1649 in Lisbon) runs to more than five hundred pages, with a list comprising hundreds of music editions and manuscripts by Spanish, Portuguese, Italian, English and Flemish composers, a veritable goldmine. Tragically, this immense collection was completely destroyed by fire in 1755, during an earthquake in Lisbon, which also claimed thirty thousand lives. The king’s strong affection for Rebelo is clear from the dedication of his theoretical treatise, Defensa da la musica moderna (1650?) and, more important for us, from a clause in his will, drawn up two days before his death on 6 November 1656, in which Joao IV ordered a collection of sacred works by Rebelo to be issued in a printed edition. The following year, in Rome, there duly appeared an edition of liturgical compositions by Rebelo, entitled Psalmi tum vesperarum tum completarum, item Magnificat, Lamentationes, et Miserere (‘Psalms for Vespers and Compline, together with Magnificats, Lamentations and a Miserere’), for forces of between four and fifteen voices. Most of the works date from the period 1636-1653. This collection also includes two six-voice motets by the king himself. In his will the king had commanded that the composer make a gift of ten copies of the edition to the royal library, with the rest to be distributed for sale in Spain, Italy and elsewhere. Only one single copy of this edition has been preserved, thanks to Fortunato Santini. This Roman priest started assembling a unique collection of printed editions and manuscripts in 1796 (some autographs, including work by Handel, as well as copies). Thanks to his copies of countless compositions, a large body of repertoire, known only from this source, has come down to us. This invaluable collection was transported from Rome to the German city of Münster in the 19th century. It managed to survive two world wars essentially intact and is now preserved in the library of the Episcopal Seminary. The collection consists of approximately 4500 manuscripts and 1100 printed editions, including the single existing source for Rebelo’s work.

“A major discovery, there’s never a dull moment as these very fine singers and players glow with convincing commitment, balance and clarity.” Choir & Organ, July 2017 4

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Etcetera - KTC1568

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Vesperae In Nativitate Domine

Vesperae In Nativitate Domine


Cozzolani:

Gloria in Altissimis Deo

Gabrieli, G:

Hodie Christus natus est a 10

Canzon Terza a 4

Monteverdi:

Dixit Dominus (Selva Morale ed altre raccolte spirituali)

Confitebor tibi, Domine

Beatus vir (from Selva Morale e Spirituali)

Laudate pueri

Gloria in excelsis (from Selva Morale e Spirituali)

Laudate Dominum from Selva morale e spirituale

Christe, Redemptor Omnium

Magnificat (from Selva Morale e Spirituali)


A Vespers Liturgy for Christmas ‘Ad vesperas’ – literally ‘at dusk’ – indicates the hour at which monks and other clerics of the Western church joined together (and indeed continue to do so) for the evening service, one of the eight daily hours of prayer, known as the ‘offices’. The offices were generally less solemn and ornate than mass celebrations, except for Vespers, which especially in Italy reached a liturgical and musical highpoint, particularly on important feast-days in the church calendar. Like the other offices and the mass, Vespers follows a fixed pattern, whereby daily recurring texts and chants alternate with elements specifically associated with a particular feast. Among the fixed ingredients are the five psalms with their antiphons and then a hymn, all of which is crowned by the Magnificat, Mary’s song of praise upon visiting her cousin Elizabeth (Luke 1: 46-55). These texts were originally sung in monody, but later, especially starting in the 16th century, they were performed polyphonically (at least in part). In 1550 a collection of polyphonic settings of the psalms was published in Venice. The composers were Adriaan Willaert, the Flemish-born Kapell­meister of the San Marco basilica, and his French colleague Jacques Colebault, better known as Jacquet of Mantua. Choirmasters now had at their disposal a broad choice of polyphonic works with which to adorn their Vesper services.

Etcetera - KTC1526

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di Lasso: Motets (From Patrocinium Musices, 1573/74)

di Lasso: Motets (From Patrocinium Musices, 1573/74)


Orlando di Lasso: Patrocinium musices, Part I

Orlando di Lasso: Exurgat Deus

Orlando di Lasso: Salve regina a 8

Orlando di Lasso: Pauper sum ego

Orlando di Lasso: Domine clamavi ad te

Orlando di Lasso: Confitemini Domino

Patrocinium musices, Book 1 [Munich, 1573]: 1a pars: Confitemini Domino - 2a pars: Ipse castigavit

Orlando di Lasso: Ante me

Orlando di Lasso: Pater noster

Orlando di Lasso: Nos qui sumus in hoc mundo

Orlando di Lasso: Misericordias Domini

Orlando di Lasso: In Deo salutarem meum

Orlando di Lasso: O gloriosa domina

Orlando di Lasso: Patrocinium musices, Part I

Orlando di Lasso: Pulvis et umbra sumus

Orlando di Lasso: Regnum mundi

Orlando di Lasso: Oculi omnium

Orlando di Lasso: Patrocinium musices, Part I

Orlando di Lasso: Media vita in morte sumus

Orlando di Lasso: Agimus tibi gratias


Jan Caals (tenor), Katelijine van Laethem (soprano), Marius van Altena (tenor), Josep Cabre (bass)

Currende Vocal Ensemble, Concerto Palatino, Currende Instrumental Ensemble, Erik van Nevel

Christophorus - CHE01922

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Vous ou la Mort

Vous ou la Mort

Canciones flamencas de amor cortos en el siglo XV


Agricola, A:

De tous biens playne

Binchois:

Amours merchi

Triste plaisir

Compère:

Vous me faites morir d'envie

Despres:

Douleur me bat

Plusieurs regretz

Si j'avoye Marion

Ile fantazies de Joskin

Je ne me puis tenir d'aimer

Allegez moy

Adieu mes amours

A l’heure que je vous

Cueurs desolez par toute nation

Dufay:

He, compaignons

La belle se siet

Isaac:

A la battaglia (for 4 voices)

Es wolt ein meydlein grasen gan

Ach, was will doch mein Herz damit (for 4 voices)

In meinem Sinn

Obrecht:

Den haghel ende (for 4 voices)

Ockeghem:

S'elle M'amera

Ma bouche rit (virelai)

Prioris:

Elle l'a pris

Rue, P:

Il viendra le jour désiré

Autant en emporte le vent


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Cantus - C9607

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Correa de Arauxo: Libro de Tientos & Canto Llano de la Immaculada Conception - Ortiz: Salve Regina

Correa de Arauxo: Libro de Tientos & Canto Llano de la Immaculada Conception - Ortiz: Salve Regina


Bernard Foccroulle (organ), Benoit Mernier (organ)

Capella Sancti Michaelis Vocal Ensemble, Erik van Nevel

Ricercar - 5400439700567

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Biber & Kerll: Requiem

Biber & Kerll: Requiem


James Bowman (counter-tenor), Guy De Mey (tenor), Max van Egmond (baritone), Ian Honeyman (tenor), Greta de Reyghere (soprano), Jill Feldman (soprano)

Ricercar Consort, Capella Sancti Michaelis Vocal Ensemble, Erik van Nevel

Ricercar - 5400439810631

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Ave Virgo Sanctissima

Ave Virgo Sanctissima


Cornet:

Regina coeli

Ghersem:

Missa Ave Virgo Sanctissima

Gregorian Chant:

Regina caeli laetare

Guerrero, Francisco:

Ave Virgo sanctissima a 5

Regina caeli a 8

Salve Regina

Philips, P:

Regina coeli

Salve regina

Rogier:

Regina Caeli

and Gregorian chant: Regina coeli


Gery de Ghersem was a Franco-Flemish composer of the late Renaissance whose works were mostly destroyed in the Lisbon earthquake and fire of 1755. This solitary surviving complete work, Ave Virgo Sanctissima, a mass for 7 voices in polyphonic style. It is based on the "hit" motet of the same name by Guerrero.

“The characteristic turns of Guerrero's motet are everywhere recognisable but Ghersem adds extra voices to the scoring of his model. The work shows off Eric van Nevel's ensemble at its best: an organ is included and the resulting texture often had me thinking that there might be more instruments involved...Ghersem's Mass may seldom be recorded again, so we should be grateful that is has been done so well.” Gramophone Magazine, October 2011

Accent - ACC24235

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Hans Leo Hassler: Aus tieffer Noth

Hans Leo Hassler: Aus tieffer Noth

Sacred and Secular Music


Hassler, H L:

Hertzlich lieb hab ich dich

O Mensch bewein dein Sünde gross

Deus, Deus meus

Exsultate Deo

Veni Sancte Spiritus

Hodie completi sunt dies Pentecostes

Dum complerentus dies Pentecostes

Nunc dimittis servum tuum

Vincula dum Christus terit

Ricercar in G

Ricercar in C

Ad Dominum cum tribularer

Laudem dicite Deo nostro

Nos autem populus ejus

O Domine Jesu Christe

O sacrum convivium

Domine, Deus meus

Aus tiefer Noth schrei ich zu dir

Und ob es wert biss in die nacht

Ob bey uns ist der sünde vil

Ehr sey dem Vater und dem Son

Intrada I

Intrada II

Intrada III

Intrada IV

Intrada VII

Nun fanget an ein guts Liedlein zu singen

Schöns Lieb, du machst mir angst

Feinslieb, du hast mich g'fangen

Herzlieb, zu dir allein

Von dir kan ich nicht scheyden

Canzon

Musica e lo mio core

Tessea catena d'oro

O dolci lagrimette

Vattene pur crudel

Care lagrime mie

Mein Gmuth ist mir verwirret

Tantzen und springen

Mi sento ohimè morire

Fuggendo andai per boschi

O tu che mi dai pene

Vivan sempre i pastori

Intrada V

Gagliarde


Hans Leo Hassler was born in Nuremberg and was the son of an organist. He studied in Italy and arrived in Venice at the peak of of activity of the Venetian school. Erik van Nevel is the founder and conductor of Currende, an ensemble that appears regularly at the major European festivals.

Etcetera - KTC1409

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Mancini - Missa Septimus

Mancini - Missa Septimus

and other Italian treasures at Saint-Rombout’s Cathedral


anon.:

Psalm Lauda Jerusalem

Psalm Confitebor tibi Domine

Motet: In deliquio amoris

Mancini, F:

Missa Septimus


Claire Lefilliatre (soprano), Marnix de Cat (alto), Han Warmelinck (tenor)

Erik Van Nevel

Halfway between Brussels and Antwerp lies the city of Merchelen. Since medieval times, Mechelen’s cathedral was the centre of an intense musical life reflected in a rich collection of Italian music dating from the early 1700s. This recording explores the collection with previously unheard musical gems of the Episcopal Archive. World Premiere Recording.

“…first-rate performances with some outstanding continuo-playing from Frank Wakelkamp (cello) and Bart Naessens (organ). The recorded balance (in the church of St John the Baptist, Mechelen) is exemplary.” Gramophone Magazine, November 2009

Etcetera - KTC4031

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Venetian Music for Double Choir

Venetian Music for Double Choir


Gabrieli, G:

Sacrae Symphoniae (excerpts)

Canzon à 6 from Canzoni e Sonate

Willaert:

Lauda Jerusalem

Credidi propter quod

Ricercar X

Adriaan Willaert (ca.1490-1562)

1 Lauda Jerusalem

2 Credidi propter quod

3 Ricecrar X

Giovanni Gabrieli (ca.1555-1612)

from Sacrae Symphoniae (1597):

4 In te Domine speravi

5 Beata es virgo (instrumental)

6 Beata es virgo

7 Sancta et immaculata Virginitas

8 Angelus Domini

9 O Jesu mi dulcissime

10 Canzon à 6 from Canzoni e Sonate (1615)

from Symphoniae sacrae (1615):

11 Exultavit cor meum

12 Sancta et immaculata Virginitas

13 O Jesu mi dulcissime

14 Benedictus es Dominus

15 O quam suavis

16 Hodie completi sunt


These superb performances of Venetian Music for Double Choir, have set the bench mark for this style of composition since it’s first appearance in 1993.

Accent Plus - ACC10101

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