Lamentationes New York Polyphony Ensemble
- Francisco de Peñalosa (1470 - 1528):
- 1Lamentationes Jeremiae Feria V11:34
- Pedro de Escobar (1465 - 1535):
- 2Stabat Mater dolorosa03:58
- Francisco de Peñalosa:
- 3Lamentationes Jeremiae Feria VI11:21
- 4Missa l'homme armé: II. Gloria in excelsis Deo04:39
- 5Sancta Maria succure miseris02:18
- 6Unica est columba mea02:25
- 7Missa l'homme armé: III. Credo in unum Deum07:20
- Francisco Guerrero (1528 - 1599):
- 8Quae est ista05:20
- 9Antes que comáis a Dios02:17
- Francisco de Peñalosa:
- 10Missa l'homme armé: V. Agnus Dei03:20
Info for Lamentationes
Renaissance music from Spain has come to mean the works of composers such as Tomás Luís de Victoria or Francisco Guerrero rather than their predecessors. But composers such as Francisco de Peñalosa – who died in 1528, the same year that Guerrero was born – were musicians of genuine imagination and skill, whose work often shows a formidable individuality. The most recent edition of Peñalosa’s oeuvre lists 22 works as genuine: masses, lamentations, hymns and motets. From these, New York Polyphony have selected two highly expressive Lamentations, intended for services held during Holy Week and setting biblical texts bemoaning the destruction of Jerusalem in 586 BC. Besides two brief motets, Peñalosa is also represented by sections from his Missa L’homme armé, one of the many examples from the 15th to the 17th century of cyclic masses based on secular melodies. These pieces by Peñalosa are brought into relief by shorter works by his near-contemporary Pedro de Escobar – a deeply haunting setting of the beginning of the hymn Stabat Mater – and the aforementioned Francisco Guerrero. Guerrero is represented by Quae est ista, a setting of words from the Song of Songs which have inspired the composer to ecstatic cascades of notes. In contrast his Antes que comáis a Dios, with a text in Spanish, is simple but effective, in a propulsive triple time.
New York Polyphony
New York Polyphony Ensemble
Praised for a “rich, natural sound that’s larger and more complex than the sum of its parts,” (National Public Radio) NEW YORK POLYPHONY is regarded as one of the finest vocal chamber ensembles in the world. The four men “sing with intelligence, subtlety and consummate artistry,” (Richmond Times-Dispatch) applying a distinctly modern touch to repertoire that ranges from austere medieval melodies to cutting-edge contemporary compositions. Their dedication to innovative programming, as well as a focus on rare and rediscovered works, has not only earned New York Polyphony critical acclaim and a devoted following, but also helped to move early music into the classical mainstream.
With the 2013 release of its fourth and most recent album Times go by Turns, “New York Polyphony continues to claim a spot as one of the finest small vocal groups performing today.” (Audiophile Audition) The program features Masses by Thomas Tallis and William Byrd, as well as an enigmatic three-voice Mass setting by medieval English composer John Plummer. Three new works written for New York Polyphony by composers Gabriel Jackson, Andrew Smith, and the late Sir Richard Rodney Bennett complete the sequence. Since its release, Times go by Turns has met with strong critical acclaim. In addition to being named one of iTunes 10 Best Classical Releases of 2013, the album has garnered a GRAMMY® nomination in the Best Chamber Music/ Small Ensemble Performance category.
New York Polyphony released its third album, endBeginning, on BIS Records in early 2012. Featuring rare and never-before recorded works from the Franco-Flemish Renaissance, the album has amassed substantial critical acclaim. Hailed as a “gorgeous, reflective program” by National Public Radio, it was selected as one of the ‘Top Ten Notable Classical Music Recordings of 2012′ by The New Yorker and rated ’10-out-of-10′ by Classics Today.
“A stunning tour through chant, polyphony and renaissance harmonies,” (Minnesota Public Radio) New York Polyphony’s second album Tudor City spent three weeks in the Top 10 of Billboard’s classical album chart. It has been featured on Danish Public Radio, American Public Radio and NPR’s All Things Considered.
New York Polyphony’s debut album I sing the birth was released in 2007. The disc—an intimate meditation on the Christmas season—garnered unanimous praise. Gramophone named it “one of the season’s best,” BBC Music Magazine selected it as ‘Editor’s Christmas Choice’, and Classic FM Magazine (UK) deemed it “a disc for all seasons.”
Since its founding in 2006, New York Polyphony has maintained an active performance schedule. The ensemble has toured extensively, participating in major concert series and festivals throughout North America and Europe. Highlights includes Dallas Chamber Music Series; Miller Theatre at Columbia University Early Music Series; Thüringer Bachwochen (Germany); Festival Oude Muziek Utrecht (Netherlands); Vendsyssel Festival (Denmark); Festival de Música de Morelia (Mexico); Elora Festival (Canada); and Choral at Cadogan Hall in London. They have been featured on Performance Today for American Public Media, Footprints to Paradise: A Medieval Christmas for Public Radio International, and BBC Radio 3′s In Tune. In December 2011, New York Polyphony made its national television debut on The Martha Stewart Show.
Recent engagements include residencies at Dartmouth College, Stanford University, and Mount Royal University in Calgary, Alberta, a broadcast holiday event for Minnesota Public Radio, and the European premiere of the Missa Charles Darwin—a newly commissioned secular Mass setting based on texts of Charles Darwin by composer Gregory Brown—at the Museum für Naturkunde in Berlin, Germany. In January, New York Polyphony participated in the New York premiere of Jonathan Berger’s chamber opera cycle Visitations at the PROTOTYPE Festival with soprano Mellissa Hughes and JACK Quartet.