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

A collection of works representative of a school of Flemish composers living in Madrid towards the end of the Renaissance and all employed by Philip II of Spain, who held composers from the Low Countries in particularly high regard. La Hèle’s Mass, here receiving its first complete recording, is a major discovery.

The inspiration behind this album was to explore the work of a neglected school of Flemish composers, who were living in Madrid towards the end of the Renaissance period, and to ask a Spanish ensemble to sing it. It was our intention to mix Spanish flair with Flemish erudition, though it would have been the Flemish element which their commissioner, Philip II of Spain (r1556-98), who employed all these composers, really appreciated. It was well known that the traditional style of Flemish sacred composition suited his severe tastes, encouraging him to build an entire chapel choir, called the Capilla Flamenca, around the Flemish idiom.

During the reign of Philip’s father, Charles V, the musicians at the imperial chapel came from a variety of backgrounds, a result of the fact that they had to follow a very peripatetic monarch wherever he went. It seems likely that on a visit to Ghent, Charles met Cornelius Canis, a local composer who, in 1542, was given the responsibility of taking four choirboys from the Low Countries to Spain. This was by no means the first time such a journey was undertaken, but it set a precedent for Madrid. Canis became the maestro de capilla in Madrid, a post which he handed over to Nicolas Payen (also called Nicolas Colin) when Charles abdicated in 1556. Payen, the first of the composers represented on this album, thus became the first maestro for Philip II, who never employed a Spaniard in that role. This policy would not be changed until 1634, when Mateo Romero (who in his turn had been brought to Madrid as a choirboy from the Low Countries as late as the 1580s) retired and Carlos Patiño attained the post. The last documented transfer of choirboys from the Low Countries to Madrid was made in 1594. ...

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

No biography found.

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