Date: February 4, 2009
Held Auditorio Ciudad de León
Context : first concert of the Performing Arts Series and Historical Music
Program: "Music extremity and the madding crowd." Sacred and secular polyphony century English XVI (works by Cristóbal de Morales, Tomás Luis de Victoria, Francisco Guerrero, Juan Vázquez, Juan del Encina and Mateo Flecha the Elder)
Performers: Choir Antiphonarium - Jose Luis Basso, address
With such bombastic and stilted title is presented, in an alternative venue to the official, who is the Emperor's capital Theatre Leon - the first cycle of Performing Arts and Music History, created by the INAEM to inaugurate the newly established "but it will take to see the light in a" physical "- National Center for the Performing Arts and Historical Music (CAEMHis), a kind of center for the study, recovery and interpretation of all English music, Latin American, European and connected with Spain in general before the eighteenth century.
Suffice it to say that what is known about this project is rather short, except that is scheduled to open in 2011 and will soon go on public tender squares of the heads of the various facets of the project, as the director the center and the directors of the choir and orchestra Baroque formations will be created as residents.
As far as there was no contest, this newly created Antiphonarium Choir, which is known as a codex, deposited in the Cathedral of León, which contains a large number of tracks dedicated to the Mozarabic Rite "is nothing a kind of workaround that the acting manager of this cycle, the stage director Gustavo Tambascio (although this is not very clear either), has been giving way to accomplish this first for the world premiere of this new grouping. And one wonders, do you really worth submit globally similar sloppy?
The choir consists of some of the supposedly more voices qualified in this repertoire as regards the English area. To many it will sound more names displayed on staff for their participation in groups dedicated to English interpretation, though of dubious historical excellence, and there is also Leon-by that presence of missing out on the happy regionalism. Well, with this picture and haste with which I know has developed the project, the result could be different than it was, especially if we consider that the guest conductor for this release proved to be the "expert reputadísimo "in Renaissance polyphony Jose Luis Basso, of which only find references regarding the interpretation historical concerns.
For starters, it should be noted that the program was a sort of greatest hits medley or-if this can be possible, of English Renaissance repertoire. Works always high quality but the trite little interest from them. And one turns to ask, given the aim of this center, if it had not been more desirable to the interpretation of works of greater depth and musicological significance. The first part consisted of sacred music and was opened with music by Cristóbal de Morales (1500-1553), which was interpreted his Missa Domine Aspic a 4-in edition, 1544 -. Mass is a parody inspired by the eponymous motet master Nicolas Gombert (c.1495-c.1560), mass movements composed of all the ordinary and can not be said to be a particularly inspired piece, if While the poor performance, which we will talk, made him a disservice. However, it noted the beautiful Agnus Dei to 5 (CAATB). The first half ended with three works by Tomás Luis de Victoria (1548-1611): the celebrated Christmas-themed anthem "O magnum mysterium- , the well-known also responsory O vos omnes to 4 (CCAT) and (this it something more "unpublished") motet Ego sum panis vivus. Although these pieces are incredibly trite, still plays a major factor in attracting and easy enjoyment.
The second part was led by classics of interpreting any of the choirs that populate our country: a hodgepodge of villanescas of Francisco Guerrero (1528-1599) and carols Juan Vásquez (c.1500-c.1560) and Juan del Encina (1468-1529/30), plus salad "El Fuego" by Mateo Flecha the Elder. Works fine, character, incisive, manners and even a comic about, well equipped structurally, but not for fitting end as did the works of the first part.
The interpretation of this cartoon coral that was pressed by the time constraints was as expected: dull, linear, lacking style, exaggerated as it did with the works of the second part a little comic ... Counting with little or no historical figure by five voices (and not because they can do things well with a number of "high" number of voices, as we made clear in the review of Tenebrae concert, but because they simply do not did not minimally good)-much more if we consider the "right" for interpretations of carols, songs, villanescas ... of Spain in the XVI "But I also undertook to provide all of the same strange taste, it all sounded almost the same, since the mass Morales Arrow salad, but took care to give it a touch ridiculous to aberrantly the secular-error parts widespread, unfortunately, giving them the neglected and humorous character, as lacking depth composition. To all this we must add the excessive taste provided by the percussion, despite the vain attempts, unfortunately, the percussionist Izaskun Cruz-this, along with organist David Oyarzábal, who made a more than decent work in the continuum, were saved burning-which took care of torment, placing of fellow travelers to various members of the choir, waving and waving, ceaselessly, the instruments were allocated to them, destroying much of the work. A tune pretty reprehensible on many occasions, the fact of being a half step low relative to say very positive organ little in their favor, and a vocal quality not too pronounced, the interpretation made something merely mediocre-at times to bad, disappointing and forgotten.
Basso address, which as I said, has virtually no experience in this field, except something about a choir in Florence, I think, that I have not been very clear and that he should not consider important, according to the absence of this information in the curriculum appeared on the playbill, I was absolutely incomprehensible, that at times had very good view of his actions, not understanding what marking and was not relationship with the music, "which leads me to believe two things: 1. The singers had the same feelings that I, 2. They had no interest in following, to the disastrous direction. I think the end result was a combination of both points.
Ultimately, one wonders whether it is necessary to create something so very poor quality, taking into account as is the picture in relation to this field, with groups like The Tallis Scholars, Huelgas-Ensemble, the already mented Tenebrae, Stile Antico, to name just a few of the hundreds available, even in our country with quality sets La Colombina, La Capella Reial de Catalunya, where things are not rare, La Grande Chapelle o Trulla of Bozes, including English La Hispano-half. If we do something, do it right, because then things happen and one gets inexplicable uneasiness when told that his city will do something so necessary and exciting as this center, but we are already chastened ...
Cristobal de Morales (1500-1553). Circumdederunt gemitum me mortis. Officium Defunctorum
Album: Missa pro Officum defunctis Defunctorum &
La Capella Reial de Catalunya & Hespèrion XX - Jordi Savall Astrée 1992
Juan del Encina (1468-1529/30). My freedom in tranquility
Album: Cancionero de Palacio (Chansons de la Renaissance)
Ensemble Gilles Binchois - Dominique Vellard
address Virgin Classics (Veritas x2) 1999-2005
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