La Hele: Missa Praeter rerum seriem & Works by Manchicourt, Payen & Rogier El Leon de Oro, Peter Phillips & Marco Antonio Garcia de Paz

• George de La Hèle (1547 - 1586): Missa Praeter rerum seriem:
• 1 La Hèle: Missa Praeter rerum seriem: I. Kyrie 05:29
• 2 La Hèle: Missa Praeter rerum seriem: II. Gloria 06:37
• 3 La Hèle: Missa Praeter rerum seriem: III. Credo 09:23
• 4 La Hèle: Missa Praeter rerum seriem: IV. Sanctus 03:39
• 5 La Hèle: Missa Praeter rerum seriem: V. Benedictus 02:40
• 6 La Hèle: Missa Praeter rerum seriem: VI. Agnus Dei I 02:46
• 7 La Hèle: Missa Praeter rerum seriem: VII. Agnus Dei II 02:46
• Pierre de Manchicourt (1510 - 1564): Osculetur me:
• 8 Manchicourt: Osculetur me: I. Osculetur me osculo oris sui 03:24
• 9 Manchicourt: Osculetur me: II. Trahe me post te 03:29
• Emendemus in melius:
• 10 Manchicourt: Emendemus in melius: I. Emendemus in melius 04:59
• 11 Manchicourt: Emendemus in melius: II. Peccavimus cum patribus nostris 03:43
• Regina caeli:
• 12 Manchicourt: Regina caeli: I. Regina caeli laetare 02:30
• 13 Manchicourt: Regina caeli: II. Resurrexit, sicut dixit 02:31
• Nicolas Payen (1512 - 1559): Cantantibus organis:
• 14 Payen: Virgo prudentissima 04:08
• 15 Rogier: Cantantibus organis 03:42
• Regina caeli:
• 16 Rogier: Regina caeli 02:53
• Total Runtime 01:04:39

Info for La Hele: Missa Praeter rerum seriem & Works by Manchicourt, Payen & Rogier

Wenn kein Geringerer als Peter Phillips - der hier das gemischt besetzte Vokalensemble El León de Oro dirigiert - die Messe eines kaum bekannten Komponisten aus dem 16. Jahrhundert uns als herausragendes Meisterwerk empfiehlt, dann kann man sicher sein, dass das keine maßlose Übertreibung ist. Die erste vollständige Einspielung der meisterhaften Missa Praeter rerum seriem von George de la Hèle (1547-1586) auf HYPERION wird hier von Werken von Pierre de Manchicourt, Nicolas Payen und Philippe Rogier ergänzt, die übrigens ebenfalls für Philipp II. von Spanien arbeiteten.

Den Impuls zu diesem Album lieferte eine in Vergessenheit geratene Schule flämischer Komponisten der Spätrenaissance in Madrid. Es galt, sie zu erkunden und ein spanisches Ensemble zu bitten, die Musik zu interpretieren. Es war unsere Absicht, in diesen Aufnahmen spanisches Flair mit flämischer Gelehrsamkeit zu kombinieren, obwohl es das flämische Element war, das ihr Auftraggeber, Philipp II. von Spanien (Regierungszeit 1556-98), in dessen Dienst alle diese Komponisten standen, schätzte. Es war bekannt, dass der traditionelle Stil flämischer geistlicher Kompositionen seinem strengen Geschmack entsprach, was ihn dazu ermutigte, einen ganzen Chor um die flämische Klangsprache herum aufzubauen, welcher als „Capilla Flamenca“ bezeichnet wurde.

Unter Karl V., Philipps Vater, waren die Musiker der kaiserlichen Kapelle von unterschiedlicher Herkunft, was darauf zurückzuführen ist, dass sie einem reiselustigen Monarchen überallhin folgen mussten. So lernte Karl wohl bei einem Besuch in Gent einen örtlichen Komponisten, Cornelius Canis kennen, welcher 1542 den Auftrag erhielt, vier Chorknaben aus den Niederlanden nach Spanien zu bringen. Zwar war dies sicherlich nicht die erste derartige Reise, doch war damit ein Präzedenzfall geschaffen. Canis wurde in Madrid zum Maestro de Capilla ernannt, ein Amt, das er nach der Abdankung Karls im Jahr 1556 an Nicolas Payen (auch Nicolas Colin genannt) übergab. Payen, der erste hier vertretene Komponist, wurde somit der erste Maestro unter Philipp II., der nie einen Spanier in dieses Amt berief. Dieser Kurs sollte sich erst 1634 ändern, als Mateo Romero (der seinerseits noch in den 1580er Jahren als Chorknabe aus den Niederlanden nach Madrid gebracht worden war) in den Ruhestand ging und Carlos Patiño das Amt übernahm. Die letzte dokumentierte Überführung von Chorknaben aus den Niederlanden nach Madrid fand 1594 statt und beendete eine Verbindung, die 200 Jahre lang bestanden hatte. ...

El Leon de Oro
Peter Phillips, Dirigent
Marco Antonio Garcia de Paz, Dirigent (tracks 12-16)

El León de Oro
2017 marked twenty years since the foundation of El León de Oro, a vocal ensemble that began life in Asturias (Spain) as a small group of friends who were passionate about singing. Over the intervening years the group has established a solid international standing, as attested by numerous awards and invitations to the finest festivals. LDO’s chief ambitions remain the search for acoustic beauty, the experiencing of polyphonic purity, and the community that emerges from assembled singing. Members are characterized by their enthusiasm and dedication: an irrefutable willingness to favour quality rather than quantity.

LDO has given a cappella concerts at distinguished festivals across Europe, America and Africa, and maintains ongoing collaborations with important Spanish orchestras, including the Orquesta Sinfónica del Principado de Asturias, the Oviedo Filarmonía and the Bilbao Orkestra Sinfonikoa, in performances of Bach’s Magnificat, St Matthew Passion and St John Passion, requiems by Fauré, Brahms and Mozart, Beethoven’s Symphony No 9, Berlioz’s L’enfance du Christ and Ravel’s Daphnis et Chloé.

In Spain, LDO has participated in Cuenca’s Semana de Música Religiosa, with a standalone concert as well as Spem in alium with The Tallis Scholars conducted by Peter Phillips. Also noteworthy is LDO’s participation in the Festival Musika-Música, the Festival de Música Antigua in both Logroño and Aranjuez, the Festival Internacional ‘Arte Sacro’ in Madrid, and ‘Bilbao Arte Sacro’. The group has twice collaborated with the Centro Nacional de Difusión Musical, and has performed Mozart’s Coronation Mass in Oviedo and León with the Mozarteum Orchestra Salzburg conducted by Leopold Hager.

LDO was awarded first prize at the 2014 London International A Cappella Choir Competition, beating off competition from choral ensembles from around the world. Other awards include the Gran Premio Nacional de Canto Coral in 2003 and 2006, the Città di Arezzo Grand Prize, and first prizes at the International Choir Contest of Flanders, the Certamen Coral Internacional de Tolosa, the Varna International May Choir Competition, and the Florilège Vocal de Tours. The group was selected by the Spanish Association of Classical Music Festivals for the Circuitos FestClásica 2020 award in the ‘Early Music’ category. Its main sponsor is the SATEC group, which is essential to its musical activity. LDO is also sponsored by institutions such as INAEM and the Principality of Asturias.

Peter Phillips
was born in 1953 in Portsmouth, in the south of England, moving from there to nearby Winchester and Oxford in pursuit of an education. At Winchester College he had his first experience of conducting Renaissance polyphony—Victoria’s O magnum mysterium. At Oxford he was Organ Scholar of St John’s College, and had a chapel choir of undergraduates with which to experiment. This led to the founding of The Tallis Scholars in 1973, and to the beginning of a career which has grown into nearly 2,500 concerts and seventy albums, largely dedicated to polyphony.

Since then he has encouraged the performance of Renaissance music all over the world. His close relationship with El León de Oro, which began in 2012, is proof of his sense of this mission. In 2017 he was made Director Honorífico of LDO, alongside their chief conductor Marco Antonio García de Paz. In addition to eighty concerts a year with The Tallis Scholars, he continues to pursue this mission with Intrada of Moscow, the BBC Singers, the Nederlands Kamerkoor, the Estonian Philharmonic Chamber Choir, and the Danish National Vocal Ensemble.

In recent years Peter has commissioned a number of contemporary composers to write music that suits choirs specializing in polyphony. Among these have been John Tavener, Eric Whitacre, Gabriel Jackson, Alexander Campkin, Nico Muhly and Matthew Martin. He has also formed a special relationship with Arvo Pärt. In addition to conducting, Peter writes and broadcasts. He recently concluded a six-programme series for BBC Radio 3 entitled The Glory of Polyphony.

In 2010 Peter was made a Bodley Fellow of Merton College, Oxford, where he was instrumental in setting up a new choral foundation. In 2005 he was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture.

Marco Antonio García de Paz
is the founder and conductor of El León de Oro. In high demand as a conductor and a leader of workshops, courses and training seminars on singing and conducting, he has been invited to judge choral competitions all over the world, and works frequently with professional choirs across Spain, among them, the Choir of the Community of Madrid (ORCAM), and the National Choir of Spain (CNE). He won ‘Best Conductor’ awards at both the 2005 International May Choir Competition in Varna, Bulgaria, and at the 2007 Internationale Koorwedstrijd van Vlaanderen in Maasmechelen, Belgium. Marco is a professor at the Accademia Corale Italiana and conductor of the Young Choir of Andalusia (JCA). He has recorded on the Hyperion Records, Naxos and RTVE Música labels. Making his debuts in Mexico and at the Palau de Barcelona in 2024, Marco is currently principal conductor of the Spanish Radio Television Choir.

Booklet for La Hele: Missa Praeter rerum seriem & Works by Manchicourt, Payen & Rogier