Francisco de Peñalosa: Complete Motets

Editorial Reviews

All Music Guide - Uncle Dave Lewis
Francisco de Peñalosa was a Spanish master roughly contemporary to Josquin who served in the court of Ferdinand and Isabella of Spain; he joined the service of the royal chapel about seven years after Ferdinand and Isabella sent Christopher Columbus to "sail the ocean blue" and was still serving as a canon in the Cathedral of Seville when he died in 1528. Peñalosa is reckoned by some as the greatest Spanish composer of his age, which included other worthy figures such as Juan del Encina, Juan de Anchieta, and Pablo Escobar; Spanish chroniclers who lived in the generation after Peñalosa insisted he was greater than Josquin himself, and for decades Peñalosa's motet ...
See more details below
CD
$12.34
BN.com price
(Save 5%)$12.99 List Price
Other sellers (CD)
  • All (3) from $10.06   
  • New (3) from $10.06   

Editorial Reviews

All Music Guide - Uncle Dave Lewis
Francisco de Peñalosa was a Spanish master roughly contemporary to Josquin who served in the court of Ferdinand and Isabella of Spain; he joined the service of the royal chapel about seven years after Ferdinand and Isabella sent Christopher Columbus to "sail the ocean blue" and was still serving as a canon in the Cathedral of Seville when he died in 1528. Peñalosa is reckoned by some as the greatest Spanish composer of his age, which included other worthy figures such as Juan del Encina, Juan de Anchieta, and Pablo Escobar; Spanish chroniclers who lived in the generation after Peñalosa insisted he was greater than Josquin himself, and for decades Peñalosa's motet "Sancta mater istud agas" was mistakenly accepted as the work of Josquin. It's no surprise, as nearly half the works attributed at one time or another to Josquin have proven the work of others. However, there remains the knotty question as to what really belongs to Peñalosa, and Pro Cantione Antiqua, in their Helios recording of The Complete Motets of Francisco de Peñalosa, attempts to address the issue with the most up-to-date and best scholarship at their disposal. It results in a selection of 22 motets, all more or less securely attributed to Francisco de Peñalosa, though excluding "Memorare piissima" -- once famously attributed to Peñalosa -- because a majority of scholars have weighed in favor of Escobar on that one of late; these motets are addressed to a wide array of services and liturgical needs. Much of Peñalosa's career was actually spent away from Seville in Rome as a guest singer, to such extent that angry letters from Seville demanding Peñalosa's return yet survive. But no music of Peñalosa's has been found in Rome, indicating that most, if not all, of Peñalosa's extant music dates from the last two decades of his life, a period in which Josquin himself was mostly semi-retired and, for the last part of it, dead; Peñalosa was really carrying the torch for Josquin's style. He may have mastered it, but this also leads to a kind of stylistic regularity that leads to monotony and Bruno Turner wisely suggests in the notes that this disc be taken in small doses in order to keep the material fresh. It is interesting that, at least in this case, achieving technical security in a high style doesn't necessarily mean it translates to major entertainment value for modern-day listeners, and despite the "greatness" accorded to Peñalosa by his contemporaries, the spicy ensaladas of Encina or less regular polyphony of Escobar might be considered preferable, despite the lower rank of such material in Spanish Renaissance. Nevertheless, despite Peñalosa's conservativism there are many fine moments here: the marvelous writing in low ranges in "Adoro te, Domine Jesu Christe"; the striking chordal progressions in "Ave, vera caro Christi"; and the flowing, carefully crafted polyphony in "Precor te, Domine Jesu Christe," fitted to an appropriately sanguine text concerning the gory details about Christ's crucifixion. "Transeunte Domino Jesu" is marvelous in the extreme concision of its main idea, which is then spread out into an impressive array of texture. Pro Cantione Antiqua sings very well here; in the early going there is some sheepishness of tone among the countertenors, but this settles down as the program moves along. No location of recording is provided by Hyperion, and presumably this was taped in the studio; be that as it may, this recording is a bit thinner and not as sumptuous as is Hyperion's wont, but it doesn't suffer much for that. Originally released on the main Hyperion label in 1992, this Helios edition is a re-release that appeared in 2009.
Read More Show Less

Product Details

  • Release Date: 6/9/2009
  • Label: Hyperion Uk
  • UPC: 034571153575
  • Catalog Number: 55357
  • Sales rank: 322,330

Tracks

Disc 1
  1. 1 Inter Vestibulum et Altare, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (2:37)
  2. 2 Tribularer, Si Nescirem, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:05)
  3. 3 Ne reminiscaris, Domine, motet for 3 voices - Francisco de Peñalosa & Joanna Gamble (2:06)
  4. 4 Versa est in Luctum, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:03)
  5. 5 Domine, secundum actum meum, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (2:31)
  6. 6 Adoro te, Domine Jesu Christe, motet for 3 voices - Francisco de Peñalosa & Joanna Gamble (2:15)
  7. 7 Ave verum corpus, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (2:48)
  8. 8 Nigra sum sed formosa, motet for 3 voices - Francisco de Peñalosa & Joanna Gamble (2:46)
  9. 9 Sancta Maria, motet for 3 voices - Francisco de Peñalosa & Joanna Gamble (2:40)
  10. 10 Unica est columba mea, motet for 3 voices - Francisco de Peñalosa & Joanna Gamble (2:34)
  11. 11 Ave, vera caro Christi, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:29)
  12. 12 Ave, vere sanguis Domini, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (2:39)
  13. 13 In Passione Positus, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:38)
  14. 14 Precor te, Domine Jesu Christe, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:48)
  15. 15 Pater Noster, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:16)
  16. 16 Ave Regina caelorum, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (4:14)
  17. 17 Sancta Mater istud agas, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (3:04)
  18. 18 O Domina Sanctissima, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (4:01)
  19. 19 Emendemus in Melius, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (2:43)
  20. 20 Deus, qui manus tuas, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (4:22)
  21. 21 Domine Jesu Christe, motet for 4 voices - Francisco de Peñalosa & Joanna Gamble (2:53)
  22. 22 Transeunte Domino Jesu, motet for 5 voices - Francisco de Peñalosa & Joanna Gamble (3:09)
Read More Show Less

Album Credits

Performance Credits
Pro Cantione Antiqua Primary Artist
Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously