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Ensemble Gilles Binchois Les Sacqueboutiers Dominique Vellard Ensemble Gilles Binchois Anne-Marie Lablaude, soprano David Sagastume, alto David Munderloh, tenor Dominique Vellard, tenor Tim Scott Whiteley, bass Les Sacqueboutiers Jean-Pierre Canihac, cornett Philippe Canguilhem, shawm Daniel Lassalle, sackbut Laurent Lechenadec, dulcian Dominique Vellard, direction 5 Recorded in the Cathédrale Saint-Pierre-et-Saint-Paul de Maguelone, France, in October 2010 Engineered and produced by Aline Blondiau Executive producer & editorial director: Carlos Céster Editorial assistance: María Díaz, Mark Wiggins Design: Valentín Iglesias (www.valentiniglesias.com) On the cover: Pedro Machuca (c.1490-1550), El descendimiento de la cruz (c.1520, detail). Museo del Prado, Madrid Ensemble Gilles Binchois, Les Sacqueboutiers, Dominique Vellard – photo Roxanne Gauthier © 2011 MusiContact GmbH Francisco de Peñalosa (c.1470-1528) 01 Sacris solemniis (hymn, “in festo Corporis Christi”) 5:15 02 Memorare Piissima (motet) 5:28 03 Missa Nunca fue pena mayor: Kyrie 3:36 04 Missa Nunca fue pena mayor: Gloria 6:17 05 Tiento xix (Julius de Modena, instr.) 2:16 Libro de cifra nueva para tecla, arpa y vihuela – Luys Venegas de Henestrosa, 1557 06 Missa Nunca fue pena mayor: Credo 8:11 07 O bone Iesu (motet, instr.) 2:47 08 Tribularer (motet) 3:06 09 Missa Nunca fue pena mayor: Sanctus 3:40 10 Ave vera caro Christi (motet) 3:33 11 Missa Nunca fue pena mayor: Agnus Dei 5:17 12 Transeunte Domino (motet) 3:30 13 Tres ii (anonymous, instr.) 1:41 Libro de cifra nueva para tecla, arpa y vihuela – Luys Venegas de Henestrosa, 1557 14 In passione positus Iesus (motet) 4:03 4 5 English English royal chapel, Seville Cathedral and the papal chapel tomary in the royal chapel, he was granted leave to three Lamentations and eleven songs. In all these of Leo x. Peñalosa was clearly highly esteemed at visit Seville on a regular basis, and after Ferdinand’s works he displays his considerable skills as a compos - court and in Rome where he served in the papal death in January 1516 took up residence there. Not er, though he adopts different styles according to choir, yet surprisingly little is known about his early only was Peñalosa the most important composer in genre: for example, the settings of liturgical texts – biography and training. The place of his birth – the Aragonese royal chapel for the best part of twen - the Magnificats, hymns and Lamentations, together Talavera de la Reina – is documented, but not the ty years, but in 1511 he was also appointed chapelmas - with a few of his motets – use the relevant chant as a date, but is assumed to have occurred around 1470. ter to Ferdinand’s grandson and namesake, prince cantus firmus which is embedded in counterpoint Although it remains to be proven through more Ferdinand, second son of Philip the Fair and Juana la that is sometimes, but not always, imitative. The research, it would appear that his father, also Loca , who was brought up and educated in Spain. devotional motets alternate contrasting textures to Francisco de Peñalosa Francisco de Peñalosa, was a servant – contino – in the Indeed, Peñalosa’s reputation was such that in the articulate the text and highlight key passages in household of Queen Isabella, and was captain of the autumn of 1517 he was invited to Rome and sang in homophonic declamation. Technical feats are to be Missa Nunca fue pena mayor guard on Columbus’s second voyage to the New the papal choir until Pope Leo x’s death in December found in the Masses, notably in the final Agnus Dei World in 1493. Information on the esteem in which 1521. The prospect of another extended absence from of the Missa Ave Maria peregrina , which combines the Francisco de Peñalosa père was held at court comes Seville meant that he was forced by the cathedral chant for the Salve regina with the tenor of Hayne van Muy poco há que murió aquel famoso varón don Francisco from the writings of his nephew, fray Bartolomé de chapter to exchange his canonry for the position of Ghizeghem’s De tous biens plaine in retrograde. de Peñalosa, Maestro de capilla del cathólico Rey don las Casas (1484-1566), the intrepid Dominican chron - Archdeacon of Carmona, which he held until his Another Mass, his Missa Adieu mes amours , is based on Fernando, el qual en la Música en arte y boz escedió á icler of the New World and apologist for the Indians; death ten years later. Although his absences from Josquin’s widely diffused chanson, and also features a Apolo su inuentor. Las Casas was, therefore, a cousin of Peñalosa fils . Seville resulted in a difficult relationship with the canon in the final Agnus Dei, while a third adopts the According to Las Casas, the composer’s father died cathedral chapter, he was clearly also held in esteem ubiquitous L’homme armé melody. It is tempting to fol - (“Not long ago died that celebrated master, Francisco de at the end of 1499 or early in 1500, and it would there: in 1510-11 his works were copied for the cathe - low a Darwinian line of evolution and suggest that Peñalosa, chapelmaster of King Ferdinand the Catholic, who appear that the young musician was raised in Seville, dral, possibly the book referred to as a “ libro de misas these more complex and extended Mass settings in both singing and composing surpassed even Apollo, the or at least spent a good part of his time there, before de Peñalosa, arcediano de Carmona, puntadas en pergamino based on Franco-Netherlandish songs must have inventor of music.”) he entered the service of the Aragonese royal chapel en marca mediana, viejo ” in an inventory of the cathe - been composed later than his two more succinct and in May 1498. dral music books dated 1588. However, other six - straightforward Masses on Spanish themes, the Missa So wrote Cristóbal de Villalón in his Ingeniosa com - This Sevillian background would certainly teenth-century inventories reveal that much of El ojo and the Missa Nunca fue pena mayor , although paración entre lo antiguo y lo presente (1539). Villalón’s explain Peñalosa’s desire to hold a benefice in that Peñalosa’s music has been lost, and that his works cir - whether this is in fact a question of chronology or of rhetoric tends to hyperbole, as can be seen from this great city’s cathedral. In December 1505 he was pre - culated widely throughout the Iberian Peninsula. the different nature of the borrowed material is a quotation in which Francisco de Peñalosa is held to sented to a canonry at the behest of King Ferdinand, Peñalosa was clearly among the more prolific of question that needs to be addressed. surpass Apollo, but the composer undoubtedly had but the cathedral chapter, as customarily occurred, the composers of his time: his extant works include an illustrious career in three of the most important resisted this appointment, and it was several years six Masses, a few separate Mass movements, six 5 musical institutions of the period: the Aragonese before the case was decided in his favour. As was cus - Magnificats, about two dozen motets, five hymns, 6 7 English English Peñalosa was one of a number of composers to base a his choice reflected the connections between the notes; only from “Domine Deus” is it presented in the sparsely textured counterpoint around it. Possibly a work on Juan de Urrede’s Nunca fue pena mayor , one of courts of the Duke of Alba and that of his cousin original values, and a similar procedure is adopted for further setting of the Agnus, perhaps based on the the most widely disseminated of all Castilian-texted Ferdinand, a closeness consolidated in 1477 when the “Qui tollis”. Yet here the song melody is combined melody of the verse of the song has, like the songs from the period. There can be little doubt that Urrede became chapelmaster of the Aragonese with the chant for the Gregorian Mass xv (a chant also Benedictus, been lost. Overall, this Mass shows his choice of melody in his Mass was anything but for - chapel. It is also worth remembering that Urrede’s used by Peñalosa in his Missa Ave Maria peregrina ), Peñalosa experimenting with the concept of the cyclic tuitous. The canción Nunca fue pena mayor , with text song opens the so-called Palace Songbook which drifts into and out of focus in the tenor and Mass based on a polyphonic song, borrowing its mate - almost certainly by the Duke of Alba, García Álvarez (Cancionero Musical de Palacio ), although whether the bass parts throughout. In the Credo, as in the Christe rial and presenting it in constantly changing and high - de Toledo and music by his Flemish chapelmaster of original compilation of this volume of hundreds of section of the Kyrie, Peñalosa adopts a much more ly inventive ways. the mid-1470s survives in various versions in almost polyphonic songs was intended as a gift for allusive approach: references to the song melody and twenty musical sources, printed and manuscript, and Ferdinand from his cousin is still a matter for debate. snippets of the Gregorian Credo i emerge and fade 5 was also cited in a number of other works, both liter - Certainly, there is no concealing of the melody by into the overall texture, at times generating or inform - ary and musical. In addition to two cantus-firmus placing it in an inner voice in long note values; rather, ing the counterpoint, but never adopting a structural Few of Peñalosa’s motets make use of borrowed mate - Mass cycles by Pierre de La Rue and Peñalosa, the it is presented almost exactly as found in the canción role.
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