SATURDAY 25
8:30 p.m.

ÚBEDA
Basílica de Santa María de los Reales Alcázares

 

CONJUNTO VOCAL “VIRELAY”
CAPILLA DE MÚSICA DE LA CATEDRAL DE CÁDIZ
Jorge Enrique García Ortega, director

 

Manuel de Falla and his perspective of Tomás Luis de Victoria (Motu Proprio, Cecilian reform and the return of polyphony composers between Spain and Mexico)

 

In 1903, the Motu proprio of Pope Pius X involved a return to Gregorian chant and sixteenth-century polyphony composers in reaction to the secular elements embedded in religious music. This “revival” promoted not only the transcription and edition of these musical pieces, but also the creation of new compositions in stile antico. In Mexico, representatives of this movement were musicologists like Manuel María Ponce or Jesús Bal y Gay. A further means of restoration consisted of bringing these works to concert halls, as in the case of Manuel de Falla and his expressive interpretation of Tomás Luis de Victoria’s works.

PROGRAM

Giovanni Pierluigi da Palestrina (c.1525-1594)
Motet In dedicatione Ecclesiae Exaudi Domine (4vv)1

Michael Haller (1840-1915)
Motet Ego sum panis vivus (4vv)

Juan de Lienas (fl.c.1620-1650)
Missa a 5: Kyrie (5vv)2

Antiphon Salve Regina (4vv)2

Motet Coenantibus autem illis (4vv)2

Antonio de Salazar (c.1650-1715)
Villancico ¡Ay, qué dolor! (4vv y órgano)3

Juan Alfonso García (1935-2015)
Antífona de Adviento (órgano solo)

Ofertory for Corpus Christi Sacerdotes Domini (3vv)

Responsory. Feria V Maioris Hebdomadae ad Matutinum In monte Oliveti (4vv)

Manuel de Falla (1876-1946)
Auto Sacramental La huída a Egipto
“Invocatio ad Individuam Trinitatem” (4vv)

Tomás Luis de Victoria (1548-1611)
Motet Ave Maria (4vv), atr. a Valentinus Judex4

Motet O magnum mysterium (4vv)5

Responsory. In Coena Domini ad Matutinum Tenebrae factae sunt (4vv)5

Psalm Miserere mei Deus (8vv)5

Motet to the Apostle Santiago O lux et decus Hispaniae (5vv)5

Missa Vidi speciosam5
Benedictus (6vv) – Gloria (6vv)

Duration: 60’ aprox.

Transcriptions and expressive versions:
(1) Expressive version by Michael Haller (1840-1915)
(2) Transcription by Jesús Bal y Gay (1905-1993). El códice del Convento del Carmen (1952)
(3) Transcription and expressive version by Manuel María Ponce Cuéllar (1882-1948)
(4) Expressive version by Manuel de Falla’s performance in 1932 by Orfeón Donostierra for the reopening of the Abbey of San Telmo in San Sebastián
(5) Expressive versions made by Manuel de Falla in Villa del Lago between 1940 and 1942 for a commemorative concert on the occasion of the Fourth Centenary of Victoria’s birth

IN COPRODUCTION WITH THE FESTIVAL DE MÚSICA ESPAÑOLA DE CÁDIZ

IN COLLABORATION WITH THE FUNDACIÓN ARCHIVO MANUEL DE FALLA DE GRANADA AND BISHOPRIC OF JAÉN

     

 

Conjunto Vocal “Virelay”
Capilla de Música de la Catedral de Cádiz
Sandra Massa Santos, organ
Jorge Enrique García Ortega, director

Conjunto Vocal Virelay was founded in Cádiz in October 2001 by Jorge Enrique García and Sandra Massa with the aim of studying and performing early music. Among their repertory are Bach’s St John Passion, Händel’s Messiah, Vivaldi’s Gloria, Fauré’s Requiem, and other symphonic choral works from Cádiz Cathedral such as Nicolas Zabala’s Te Deum, which was composed for the proclamation of the Constitution of 1812. The group is currently working on a series of seven CDs devoted to the music preserved in the archive of Cádiz Cathedral. Four CDs in this series have already been released by the Cathedral from 2010 onwards.

YOUTUBE

https://www.youtube.com/watch?v=M8RpjbO01_A
https://www.youtube.com/watch?v=_Jm7hB1TByw
https://www.youtube.com/watch?v=id-14wOA4_g

 WEB & SOCIAL NETWORKS

https://www.facebook.com/conjuntovocalvirelay/
http://virelay.blogspot.com.es/