Saturday 11 October, 8 pm
pepi lloret & lucentum xvi
sant vicent's apocalypse
Music from the life and Canonization of Vicent Ferrer
Pepi Lloret, soprano
LUCENTUM XVI
Israel García, cornetto
Ricardo Ortiz, tromba da tirarsi and sackbut
Álvaro Zanón, sackbut and medieval trumpet
Andreu Juan, tenor dulcien
Carlos García-Bernalt, organ
Pere Olivé, percussion
Pere Saragossa, shawms and direction
PROGRAMME
L'apocalipsi de Sant Vicent Ferrer
Music from the life and Canonization of Vicent Ferrer
YEARS OF LIFE AND WORK
Llibre vermell de Montserrat (1399)
Ad mortem festinamus
Polorum regina
Mariam matrem Virginem
Imperayritz de la ciutat joyosa
Quant ai lo mont consirat, anonymous of the Madrid Manuscript 105
Guillaume de Machaut (c. 1300-1377)
Liement me deport
Puisqu’en oubli suis de vous, dous amis
CANONIZATION
Cancionero de Montecassino 871 (c.1480)
Chiave chiave, toccata anónima
Correno multi cani, Strambotto-Caccia, anonymous
Morte o merce, gentile aquil’altera, by Joan Cornago (c.1400 - 1477)
Miserere Nostri, anonymous
Patres nostri peccaverunt, by Joan Cornago
Adoramus te, anonymous procesional anthem
O vos homines qui transite in pena, by Pere Oriola
O tempo bono, e chi me t’a levato, anonymous strambotto
PROGRAMME notes
Music from the time of Vicent Ferrer and its close relationship with the apocalyptic end of the world predicted for the conversion of heretics in the 14th century. Born in Valencia in 1350, Vicent Ferrer could be considered the greatest Valencian figure in history. In addition to being an international preacher, Vicent was a professor at the universities of Lleida, Barcelona and Toulouse. At the age of 27, he was appointed delegate of the Barcelona chancellery in the negotiations of the Schism that would divide Christianity between the popes of Avignon and Rome. He was therefore a mediator in the most important political milestones of his time.
Vicent exploited his brilliant apocalyptic oratory by announcing the end of the world and the day of judgement, when the Almighty would be relentless with Christian evils. He passed away in the Breton city of Gwened on 5 April 1419. Among his feats, miracles and attributed visions, we highlight the one in which he said to the young Alfons de Borja: ‘You will be pope and you will make me a saint.’ And so it was. Alfonso, under the name of Calixtus III, was the first Valencian pope in history and in 1455 he made Vicent Ferrer a saint.
In this programme, we present music from both his lifetime and the period of his canonisation. We will take a journey through classical, divine and human music, but also some of the traditional music of the different European kingdoms where he preached, as well as two of the communities he most wanted to Christianise, Jews and Muslims. We will hear Marian pieces from the Red Book of Montserrat, works by Guillaume de Machaut, as well as a good selection from the Montecassino Songbook, a songbook that collects anonymous works by Joan Cornago and Pere Oriola, music belonging to the Aragonese court of Alfonso the Magnanimous in Naples.
Pepi lloret
soprano
Born in Vila Joiosa, she obtained her higher degree in singing and master's degree in research and performance at the Òscar Esplà Higher Conservatory of Music in Alicante, where she studied under Ana María Sánchez, Mª José Martos and Pilar Moral. She was awarded first prize in the 37th Performance Competition of the Alicante Concert Society (2022), second prize in the 8th Estepona Crea-2022 National Competition, and was a finalist in the Un Futuro de Arte International Singing Competition in Medinaceli, among others.
Her great flexibility as a soprano allows her to perform repertoires from the Renaissance to the present day. Her most performed opera roles are Illia in Mozart's Idomeneo, Frasquita in Bizet's Carmen, and Anquisas in Nebra's Vendado amor, no se ciego. She has performed the world premiere of Adolfo Wagener's zarzuela El Carillón de Brujas under the direction of Cristóbal Soler.
She has collaborated with the Coro del Gran Teatro del Liceo in Barcelona and the Coro Intermezzo in Madrid. Together with the Almus Quartet, she has performed various programmes ranging from classical to contemporary music. She played the leading role in the premiere of Las cuatro estaciones by José Rafael Vilaplana.
Since the creation of the Renaissance group Lucentum XVI in 2015, Pepi Lloret has performed with this group at important national and international festivals, such as Músicas Contemplativas in Santiago de Compostela, the Festival of Ancient and Baroque Music in Peñíscola, FEMAP (Pyrenees), Monasterio de Pedralbes and Festival Anima Mea in She has premiered and recorded on CD the works Tres canciones de Jimi-Jomo and Diptic Estellés by composer Joan Alborch.
lucentum xvi
high chapel
Grupo de ministriles dirigido por Pere Saragossa, creado para interpretar y difundir el rico y diverso repertorio musical del Renacimiento. Las bandas de instrumentos de viento, con el nombre de alta capilla, se extendieron por ciudades y villas de Europa en los siglos XV y XVI. La función principal de los ministreros dentro de la liturgia era acompañar a la música vocal, doblando las voces. A nivel civil, la alta capilla se encargaba de interpretar danzas, canciones populares y piezas épicas o de amor de origen cortesano y popular.
Entre las actuaciones de Lucentum XVI destacan las realizadas en Bari y Molfetta dentro del Festival Anima mea de la Puglia (Italia), Vespres Musicals del Monasterio de Pedralbes en Barcelona, Festival de Música Antigua de los Pirineos, Festival Serenatas de la Universidad de Valencia, Festival de Música Antigua de Morella, Clásicos de la Frontera de la Frontera de Compostela, Festival de Música Sacra de Benicàssim, Festival de Música Antigua y Barroca de Peñíscola.
En 2021 publicaron el primer trabajo discográfico con el título “El Cantoral del Monasterio de Santa María de la Murta de Alzira”, disco del que la crítica especializada ha dicho “La ejecución es absolutamente exquisita, llena de equilibrio en las voces excelentes y los instrumentos (...). El disco es una joya, tanto por la interpretación como por la inédita y bella polifonía y por la documentación.» (Manuel de Lara Ruiz, Revista Scherzo, junio 2021).
Saturday, October 9, 7pm
Lucentum XVI
Francesc de Borja
Music for the 450th anniversary of his death
Pere Saragossa, shawms and direction
Quiteria Muñoz, soprano; Carla Sanmartín, alto
Jesus Navarro, tenor; Giorgio Celenza, bass
Carlos García-Bernalt, organ
Xavier Boïls, cornetto; Vicent Osca, sackbut; Antoni Lloret, shawms;
Antoni Llofriw, dulzians; Fernando Fernández, lute; Facundo San Blas, percussion
PROGRAMme
francesc de borja
· La Bataille, by Clément Janequin (c.1485-1558), of the Dixiéme livre (Amberes, 1545) of Tielman Susato
· Rondeau «Ce jour», by Guillaume Dufay (c.1397-1474)
· Ave Maris Stella, by G. Dufay / Booksongs of Montecassino (c.1480)
· Miserere Nostri – Vexilla Regis, C. Montecassino
· El cervel mi fa, anonymous of the Booksong of Palacio (c. 1500)
· Susanne un jour, d’Orlando de Lassus (1532-1594)
· Credo in unum Deum of the Mass about Susanne un jour, by Orlando de Lassus.
· Makam Muhayyer «Kúme» usules Düyek Acemler, Turkish war march.
· Passio Domini nostri Iesu Christi secundum Mattheum*, by Jan Nasco (c.1510–1561) and Joan Baptista Comes (c.1582-1643)
*Named as «Passion de Valencia» by Joan Baptista Comes (Escorial Monastery Archive, c.1607)
ABOUT THE GROUP
lucentum xvi
Group of ministers (instrument players) led by Pere Saragossa , created to interpret and spread the rich and varied musical repertoire of the Renaissance. Bands of wind instruments, with the name alta capella , spread throughout cities and towns in Europe in the 15th and 16th centuries. The main function of the ministers within the liturgy was to accompany the vocal music, dubbing the voices. In the civil sphere, the high chapel was in charge of performing dances, popular songs, and love pieces and epics of courtly and popular origin.
Lucentum XVI's performances include those performed in Bari and Molfetta as part of the Anima mea de la Puglia Festival (Italy), Musical Vespers of the Monastery of Pedralbes, Festival of Ancient Music of the Pyrenees, Serenades Festival of the University of Valencia, Music Festival Antiga de Morella, Clásicos en la Frontera a la Ribagorça, Festival of Contemplative Music of Santiago de Compostela, Festival of Sacred Music of Benicàssim, Festival of Ancient and Baroque Music of Peñíscola.
In 2021 they published their first record work with the title " El Cantoral del Monestir de Santa Maria de la Murta d'Alzira ", a disc of which the specialized critic has said "The execution is absolutely exquisite, full of balance in the excellent voices and the instruments (...). The album is a gem, both for the interpretation and for the unprecedented and beautiful polyphony and for the documentation.» (Manuel de Lara Ruiz, Scherzo Magazine, June 2021).
Programme notes
francesc de borja
This programme comemorates the 450th anniversary of the death of Francesc de Borja i Aragó ( Gandia 1510- Roma 1572) who was Duke of Gandia, Lieutenant of Catalunya, later joining the Jesuit order being proclaimed a Saint in 1671, for which reason the Catholic church is now celebrating the 350th anniversary of this fact.
In this concert we present the premiere in modern times , of the Passion of Our Lord Jesus Christ according to Matthew, a work which Ferran d'Aragó, viceroy of Valencia and Duke of Calabria commisioned from the Flemish composer, Jan Nasco ( 1510-1561) to give as a gift to the Cathedral of Valencia , being known at the time as the Passion of Valencia.
This work is part of the repertoire of the choir of the monastery of Murta d'Alzira, a musical body to which our group has dedicated the first of their albums released earlier this year.
The representation or interpretation of the Passion according to Matthew , where the gospel of this prophet is narrated, took place in the Roman Catholic liturgy during the Mass of Palm Sunday (the following Tuesday was the gospel of Saint Mark, on Wednesday, the gospel of Saint Luke and on Good Friday the gospel of Saint John.).
The main characters of the Passion are Christ, the Evangelist narrator and the crowd, the so-called “mob” played by the whole congregation.
The score for the crowd has not been found in the Monastery of Alzira , so it could have been performed in plain singing or in a now lost poliphony.
But some parts sung by the crowd appear in poliphony for 6 voices originally written by the Valencian Joan Baptista Comes ( chapel master in the Cathedral of Valencia, successor to Josep Prades) which is in the monastery of San Lorenzo d'El Escorial, a Jerónimo monastery, like that of Alzira. And the interventions of the mob, but for 4 voices, appear in a document of 1561 signed by Jan Nasco himself.
Since the Second Vatican Council, held between 1959 and 1962 the singing of the Latin Passion has been replaced in almost all diocese by the reading of the Passion in the vernacular language ( except in our territory where our own language is not used.).
Together with this great work we present among others pieces from the Cancionero de Palacio , the palace of Queen Isabel of Castilla ( the Catholic) and king Ferdinand of Aragón, and the Songbook of Montecasino ( Naples) a collection written in the 1480s which accompanied Alfons and Roderic de Borja to Rome where they became Popes with the names Calixtus lll and Alexander Vl.
