Sebastián de Vivanco: Missa Pro Defunctis; Motets
Spanish Renaissance polyphony has a reputation for florid, intricate contrapuntal textures and dark colours. Sebastián de Vivanco (c. 1551–1622), born in Ávila but active for most of his life in Salamanca, stands apart from his contemporaries: his music explores a much wider range of colours and techniques than that of, say, Victoria. In his more experimental and dramatic motets, some of which are heard here, he points the way towards the new Baroque. But in the calm sobriety of his Requiem, now reconstructed and recorded for the first time, he honours the Iberian tradition of unhurried chant-driven polyphony, all the more moving for its uncluttered clarity and exquisitely lovely chordal sequences.
The Renaissance Singers
David Allinson, director
Listen To This Recording:
Cristóbal de Morales
- Circumdederunt me gemitus mortis a5 (2:17)
Sebastián de Vivanco
- De profundis clamavi a4 (2:49)
- Parce mihi, Domine a4* (3:59)
- Versa est in luctum a6 (4:54)
- Manus tuae, Domine a4 (2:52)
Missa pro defunctis a4 (24:39)*
- I. Introit. Requiem æternam (5:27)
- II. Kyrie eleison (Guadalupe version) (1:33)
- IIb. Kyrie eleison (Salamanca version) (1:45)
- III. Tract. Absolve, Domine (2:53)
- IV. Offertory. Domine Jesu Christe (3:59)
- V. Sanctus – Benedictus (Guadalupe version) (3:58)
- Vb. Sanctus (Salamanca version) (2:17)
- VI. Agnus Dei (2:47)
- Circumdederunt me dolores mortis a5 (4:25)
- O Domine Jesu Christe a5** (3:05)
Bernardino de Ribera
- Dimitte me ergo a6 (3:55)
Juan Guitiérrez Padilla
- Circumdederunt me dolores mortis a6 (5:09)
Melchor Robledo
- Salve Regina a6 (7:54)
*First Recording
**First Digital Recording
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