| David Allinson and The Renaissance Singers at Holy Sepulchre London, |
The Renaissance Singers is a chamber choir with a distinction. One in all London’s main non-professional vocal teams, for over 80 years it has specialised in unique programmes of early vocal music that embody ignored masterpieces and lots of first trendy performances.
Their new CD, made doable by their supporters on Crowdfunder, is of a Requiem by Sebastián de Vivanco that has not been recorded earlier than.
The choir’s Musical Director David Allinson tells us extra.
Think about this. You’ve taken your seat within the live performance corridor for a efficiency of a Requiem: Verdi maybe, Brahms, or perhaps Fauré. However the conductor turns to the viewers with an announcement. Apparently, this piece exists in numerous variations, and it’s unclear which ones the composer wished us to listen to. The musicians will due to this fact carry out components of the work twice.
If this situation appears unlikely to you, it reveals that you just have a tendency to think about most composers’ works as being fastened, made secure by a set of revealed musical symbols. We assume the music represents the composer’s remaining ideas at no matter level the clock was stopped – and normally throughout the composer’s lifetime.
In Renaissance music this isn’t all the time the case. The printing press did revolutionize the dissemination of vocal music all through the interval, and we’re lucky to have printed collections by many nice composers. However a lot of what was sung in cathedrals then was transmitted in manuscript copies. It was the use and re-use of the music, not its written buildings, that mattered: music can be tailored, rewritten or discarded in numerous places to go well with the actual circumstances of the establishment and the choir. And sadly these manuscripts have been simply broken, misplaced or intentionally discarded.
For musicians right this moment the consequence generally is a blur, a musicological puzzle. How may we match collectively the ‘work’ from the sources out there? Ought to we even attempt to second-guess the composer’s intentions, or ought to we embrace the instability of a number of, open-ended options?
This explains how my choir, The Renaissance Singers, got here to carry out and file some actions of a Requiem twice.
Rediscovering a Requiem by an incredible composer
The Missa professional defunctis by Spanish composer Sebastián de Vivanco was as soon as considered misplaced, or to exist solely in fragments. Vivanco revealed three substantial printed collections of his music between 1607 and 1610, however these didn’t embody the Requiem. It survived tenuously in two manuscripts—within the Spanish cities of Guadalupe and Ávila—that have been copied many a long time after Vivanco’s dying in 1622.
The brand new version we sang was created by the sensible musicologist Jorge Martín, who has reconstructed the piece from these manuscript sources. Music that was clearly not by Vivanco has been eliminated. Elsewhere, the transmission and use of Vivanco’s music in numerous Spanish cathedrals has created parallel variations of some sections, and somewhat than making an attempt to resolve or suppress the disparities, we embraced them. Thus we included two variations of the Kyrie and the Sanctus the place the manuscripts differ. Which ones is closest to the music Vivanco initially conceived might by no means be identified.
Once we carried out this Requiem in June final yr, a twenty first century viewers was listening to parts of this music—and all that’s unknowable about its historical past—for the primary time.
A primary recording
There’s an particularly wealthy seam of emotionally intense sacred music from Renaissance Spain. Vivanco’s Requiem belongs to a practice of Iberian Requiem settings by Morales, Guerrero, Cardoso, Duarte Lobo and lots of others – most famously Victoria. These have all been recorded, typically many instances over, however Vivanco’s was lacking from that canon.
Till now. Final July, when most individuals have been sensibly avoiding the heatwave, we spent three intense days recording the Missa professional defunctis in central London, along with motets by Vivanco and his Spanish contemporaries.
Vivanco’s music is great: elegant, fluid and luminous. He stands on the finish of an incredible custom of Spanish Golden Age polyphony, however his intensely expressive use of concord and small motivic particulars appear to level in the direction of a extra baroque type.
The choir for which Vivanco initially conceived this music is more likely to have been all male. As we’re a contemporary, mixed-voice choir we sing the piece at a pitch that works for our forces. Our aesthetic strategy was to keep away from a very serene or indifferent type of singing, however as a substitute to carry to the work a way of narrative and human connection; this music is dramatic, consoling and humane.
One of many joys of working within the area of Renaissance music is that new discoveries are all the time doable. Our sense of what’s canonical is commonly formed by arbitrary historic forces, or by what earlier generations discovered helpful to incorporate in anthologies for choirs. Nevertheless it’s all the time altering, as a result of there’s nonetheless nice music on the market that we haven’t heard.
Vivanco’s Requiem has come a protracted technique to be right here. It was written over 4 hundred years in the past to wish for the souls of the departed throughout Mass; copied by hand and brought to totally different cities in Spain; used, tailored, after which uncared for, forgotten and unheard for hundreds of years.
Now although, you possibly can hear it anyplace on this planet in a few clicks. We hope listeners will get pleasure from this outstanding music as a lot as we did.
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| The Renaissance Singers throughout their recording periods on the VOCES8 Centre. (Photograph: Ben Connellan) |
David Allinson is a contract conductor, educator and workshop chief specialising in early music, and has been Musical Director of The Renaissance Singers since 2010.
The Renaissance Singers’ recording of Sebastián de Vivanco’s Missa professional defunctis and motets, launched by Toccata, is out there now.
The choir’s subsequent live performance on 14 February explores the Portuguese polyphony that survived the Lisbon earthquake of 1755, and is performed by Toby Ward. Tickets from £15 (free for underneath 21s) at their web site.
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