La Tempête / Simon-Pierre Bestion
Bomba Flamenca
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Recorded live at TivoliVredenburg / Grote Zaal, Utrecht, 25 August 2023
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About this concert
In 1558, Emperor Emeritus Charles V organised a mock ceremony for his own funeral. Delusions of grandeur on the part of a megalomaniac, or desire for control on the part of a perfectionist? What is certain is that the exercise came just in time: the monarch died two weeks later. The intriguing phenomenon of a requiem rehearsal gave artist in residence Simon-Pierre Bestion the idea of creating an imaginary mass for the dead, with medieval songs and Renaissance polyphony by, among others, Gombert, Crecquillon, de Morales and de Orto.
'Repertoire that I just love,' says Bestion, who, with four soloists, choir and orchestra, brings the necessary pomp and circumstance into play. With a light creation by stained-glass artist Marianne Pelcerf as a visual trigger, Bomba Flamenca becomes an evocation of (pre-)Renaissance Spain.
Programme
-
Anonymous
Congaudeant catholici
(from: Codex Calixtinus, 12th century)12th century -
Clément Janequin
La Guerre (excerpt)
1485-na 1558 -
Mateo Flecha, ‘el Viejo’
La Bomba (excerpt)
?1481-?1553 -
Pierre de Manchicourt
Introït
(from: Requiem)ca. 1510-1564 -
Luys de Narváez
Mille regres instrumental
(from: El tercero libro del Delphin de musica, Valladolid 1538)fl. 1526-49 -
Nicolas Gombert
Musae Jovis (in memoriam Josquin Desprez)
ca. 1495-ca. 1560 -
Traditional Arabo-Andalusian
Nawa Assar - Muwash’shah
-
Juan del Encina
Una sañosa porIía
(from: Cancionero de Palacio, late 15th century)1468-1529/30 -
Anonymous
Ad mortem festinamus
(from: Llibre vermell de Montserrat, late 14th century)14th century -
Thomas Crecquillon
Mem
(from: Lamentationes Hieremiae prophetae)ca. 1505-1557 -
Traditional Arabo-Andalusian
Undulating gait - In love with a gazelle
-
Traditional Sephardic
Ir me kero madre a Yerushalaiym
-
Anonymous
Dum esset salvator in monte
(from: Codex Calixtinus)12th century -
Pedro de Escobar
Sanctus
Benedictus
(from: Requiem)ca. 1465-after 1535 -
Marbrianus de Orto
Guimel
(from: Lamentationes Hieremiae prophetae)ca.1460-1529 -
Anonymous
Tod’ aquel que pola Virgen
(from: Cantigas de Santa Maria)13th century -
Mateo Flecha, ‘el Viejo’
El Fuego
-
Cristóbal de Morales
Parce mihi, Domine
(from: Officium defunctorum) -
Antonio de Cabezón
Magnificat primi toni
ca. 1510-1566
Musicians
- Amélie Raison soprano
- Axelle Verner alto
- Edouard Monjanel tenor
- René Ramos-Premier baritone-bass
- Annabelle Bayet, Alice Kamenezky, Véronique Housseau soprano
- Fanny Chatelain, Cécile Banquey alto
- Thibaut Jacqmin, Richard Golian, Vivien Simon, Léo Guillou-Kérédan tenor
- Eudes Peyre, Arthur Cady, Jean-Christophe Brizard bass
- Benoît Tainturier, Solène Riot cornetto, flute
- Abel Rohrbach, Nicolas Vaszquez tenor sackbut
- Olivier Dubois bass sackbut
- Xavier Marquis bass dulcian, clarinet
- Lucile Tessier, Marie Lerbret, Anaïs Ramage dulcian
- Koji Yoda violin
- Camille Aubret viola
- Mathias Ferré, Marie-Suzanne, Julie Dessaint viola da gamba
- Pierre Rinderknecht, Ronaldo Lopes theorbo, guitar
- Loris Barrucand harpsichord
- Youen Cadiou double bass
- Michèle Claude percussion
- Caroline Lieby harp
- Simon-Pierre Bestion musical direction
- Marianne Pelcerf lightning design
About the performers
The vocal and instrumental company La Tempête was founded in 2015 by Simon-Pierre Bestion. He brought together artists from different backgrounds and created a collective with a strong character. The ensemble mainly focuses on early music or even traditional music but also performs modern and contemporary repertoires. La Tempête continuously questions the form of classical music concerts, performing in a spatialized and staged way and collaborating with other disciplines (electroacoustic music, theater, dance, lights, video, mapping). The ensemble is artist in residence of the Utrecht Early Music Festival 2023.