Sunday 12 October, 8 pm
pilar moral & música trobada
anònimes
Music without names in Valencia in the 18th century
Pilar Moral, soprano
MÚSICA TROBADA
Francesc Valldecabres
organ and direction
Enric Llorens i Amparo Camps
violins
Regina Fuentes
cello
Francisco López
theorbo and baroque guitar
PROGRAMme
Anònimes
Music without names in Valencia in the 18th century
¿Quién es esta que sube?, cantata a l’Assumpció a solo de tiple, 2 violins i acompanyament
Cobles - Ària Andante – Recitat - Ària
Tocates per a ministrers
Marinero que los mares navegas, tonada a solo de tiple
Señor piadoso, ària al Santíssim per a tiple, 2 violins i acompanyament
Fuga
Ya llegó el caso, mosqueteritos, melodia dels bojos. Soprano i acompanyament
Salve Regina, per a veu i acompanyament
Dansa del Pistolet y Cadena
Afectos de odio y de amor (text de Calderón de la Barca. BNE), recitat i ària de tiple i acompanyament
Portento soberano, recitat i ària a Nostra Senyora de Gràcia, per a soprano, 2 violins i acompanyament
*Tot el repertori ha estat recuperat per Música Trobada per aquesta estrena en temps moderns, excepte de la Dansa del Pistolet i Cadena.
PROGRAMme notes
Anònimes. Music without names in Valencia in the 18th century
Música Trobada takes this definition, Anònimes, as the title of a repertoire without authorship, big names, dates, or places of birth and death. However, in their search for anonymous music in the archives of the Seu de València and the Colegio del Corpus Christi, they have found real gems covering very different styles: religious music, such as the Salve; instrumental music, such as the tocates per a ministrers; traditional music, such as some dances typical of the Valencian Country in the 18th century; and even pieces for comedies and plays, such as Afectos de odio y amor for a text by Calderón de la Barca. All these hidden compositions, which do not seem to have found their place in religious archives, have been unfairly under-performed and under-researched by musicologists. And, inevitably, they invite us to reflect on anonymity: oblivion, the immediacy of performance, lack of need, ignorance of the author, or even the express desire for names to be omitted. Anònimes offers us, with this common thread, a journey through 18th-century Valencia with unpublished music by composers – or composers, why not? – from the city's two most important music archives.
pilar moral soprano
Born in Valencia, she studied singing at the city's Conservatorio Superior de Música with Ana Luisa Chova, receiving top marks and later perfecting her skills in Milan and London. Her stage experience encompasses roles from different periods and styles, performing at the Arriaga Theatre in Bilbao, the Baluarte Auditorium in Pamplona, the Calderón Theatre in Valladolid, the Campoamor Theatre in Oviedo, the Zarzuela Theatre in Madrid, the Maestranza Theatre in Seville, the Rosetum Theatre in Milan, and other theatres and concert halls in Spain, Italy, Germany, Switzerland and the Philippines. ..
música trobada
Since its founding in 2009, Música Trobada has sought to position itself as a platform for research, recovery and dissemination of early and baroque music, mainly from the Hispanic and Valencian musical heritage, with key figures such as Joan Cabanilles and Pasqual Fuentes Alcàsser. Formed by Francesc Valldecabres (conductor), Pilar Moral (soprano) and Regina Fuentes (cello), we regularly collaborate with renowned professionals in the arts, both in music and other disciplines.
Música Trobada has performed in various venues such as the Palau de la Música in Valencia, the Alfonso el Magnánimo hall and the Museum of Fine Arts in Valencia. It has also performed in cycles and festivals such as those of the Valencia Philharmonic Society, Desert de les Palmes, Serenates al Claustre de La Nau, Graus, Benasque, Osca, MusAS de Sagunto, FEMAP, Peñíscola, Vélez Blanco and the Requena Sacred Music Week, among others. In 2019, the group presented the first edition of the Requena Renaissance and Baroque Singing Course, in collaboration with the city council. Since 2018, it has also offered various concert series at the Valencia Museum of Fine Arts.
Música Trobada has recorded three albums: Joan Cabanilles: la música d'un temps (Assisi, 2011); ‘Ab llicència o sens ella: Els villancets en valencià de Pasqual Fuentes’ (La Mà de Guido, 2017); and ‘Lamentatio: les lamentacions de Pasqual Fuentes’ (DCB Producciones/Crissanjor S.L., 2020).
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.
