Ave Maris Stella



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Ave Maris Stella
Música de la Catedral de Sevilla dedicada a la Virgen María (ca 1470-1550)


Orchestra of the Renaissance
Conductor: Richard Cheetham


AVE MARIS STELLA

MÚSICA DE LA CATEDRAL DE SEVILLA

DEDICADA A LA VIRGEN MARÍA (ca. 1470-1550)

 

ESCOBAR: Ave Maris Stella (C,D,F,G) 5'39"

MORALES: Kyrie de la Misa De Beata Virgine 3'34"

CEBALLOS: Viego Dei Genitrix 2'14"

PEÑALOSA: Ave Regina Caelorum (B,D,E,F) 3'40"

PEÑALOSA: Sancta Mater, istud agas 2'18"

MORALES: Gloria de la Misa De Beata Virgine 8'15"

MORALES: Virgo María (A,F) 5'43”

MEDINA: Salve Regina 7'16”

PALERO: Ave Maris Stella 1'36”

PEÑALOSA: O Domina Sanctissima 3'03"

MORALES: Credo de la Misa De Beata Virgine 8'50"

ANÓNIMO: Ay, Santa María 4'17”

MORALES: Agnus de la Misa Ave María 1'46"

MORALES: Sanctus de la Misa De Beata Virgine 7'19"

MORALES: Exaltata est 3'39"

MORALES: A.Dei de la Misa De Beata Virgine 5'29"

SALVE REGINA (Canto Llano) 2'27"

 

Duración total 73'85"

 

 


About

"Ave Maris Stella"

Music to the blessed Virgin from Seville Cathedral (ca. 1470-1550)

 

Seville —recovered from the Moors in November 1248 by forces led by Ferdinand III of Castile and Leon— reached the summit of its commercial, literary, and artistic glories during the 16th and 1 7th centuries. The most populous city in the peninsula, it enjoyed a monopoly on trade with the Americas and served as the exclusive embarkation point for passengers to the Spanish-American colonies.

The unsurpassed cathedral of Seville, a fitting rival for Sr. Peter's at Rome, not only provided the model for liturgical uses in the infant American cathedrals at Mexico City, Lima, and Santo Domingo, but also the first polyphonic collections purchased for Cuzco Cathedral, Guatemala, and Bogotá were the publications of the Sevillians Cristóbal de Morales (ca. 1500-1533) and his pupil Francisco Guerrero (1528-1599). Their masterpieces, in company with printed manuscript music by such other genit associates with Seville Cathedral as Rodrigo de Ceballos (ca. 1530-1581) and Alonso Lobo 1555-1617) exported to Western Hemisphere provided the Americas with musical treasure comparable with Atahuallpa's gols.

Fittingly, since the present CD contains solely music dedicated to the Blessed Virgin, Seville’s Cathedral (which served as metropolitan, the earliest American cathedral as suffragans was, from the time of Ferdinand III’s reconquest, dedicated to the Virgin of the Assumption (August 15). In the Blessed Virgin's honour, the present CD contains hymns (Ave Maris Stella, Sancta Mater istud agas, Virgo Dei genitrix), antiphons (Ave regina caelorum, Salve Regina), motets (0 Domina sanctissima, Virgo Maria, Exaltata est) and a complete Mass. Since four of the six composers whose works this CD contains have not yet been profiles in the leading biographical dictionary, Boker's Biographical dictionary of Musicians, eighth edition (1992), their biographies precede discussion of their compositions.

Pedro de Escobar (Pedro del Puerto) (b Oporto ca. 1469; d ?Evora. after 1535) ranks as the earliest Portuguese composer active in Spain. The bishop of Oporto 1465 to 1495, Joao de Azevedo, son of Gonzalez Malafaia, ambassador to Castile during Juan I's reign, began in 1487 a long pilgrimage outside the realm, and it is he who may have introduced Pedro del Puerto (Pedro do Porto) to Isabella of Castile. While singing in her chape) choir from 1489 to 1499 Pedro del Puerto —identified as portugués in a Simancas document (Casa Real de Castilla, Legajo 5; Monumentos de la Musica Española, 1 [1941]. 57— enjoyed the contact with other court singers that explains his having cooperated with Juan de Anchieta and Francisco de Peñalosa in composing two Lady Masses, extant in Tarazona Cathedral Choirbook III.

On 19 May 1507 the Seville Cathedral chapter dispatched a messenger to Portugal with an invitation to "come to take charge of the choirboys" ('Miercoles 19 de mayo 1507. Scobar. Item este mismo dya mandaron sus mercedes que Pedro de fuentes despache vn mensajero a Portugal a llamar a escobar sy pudiere, con el que tome los mojos que tenia valera e lo que montare el mensajero se lo pague'). During his seven years at Seville, Escobar endured financial problems that the chapter attempted to alleviate.