A fresh look at the partly little-known work of a great Spanish Renaissance master who went to seek his fortune in Naples.
Recording programme around Diego Ortiz (ca 1510 – ca 1570).
Diego Ortiz is well known to players of early music for his 1553 Treatise on Glosas and his famous virtuoso diminutions; however, his sacred output, gathered in the Musices Liber Primus of 1565, has almost entirely fallen into oblivion. This programme is therefore an opportunity to rediscover, among a selection of very rare motets, forgotten masterpieces taken from this collection. Ortiz there shows his mastery of polyphony, a synthesis of multiple influences, from the Franco-Flemish school to the Spanish chansons. One also finds the rhythmic inventiveness of the diminutions, underlined by the use of instruments to double or replace sung voices, as the author suggests in his preface. Polyphonic songs, organ pieces played by a consort of strings, or ornamented madrigals complete this unprecedented portrait, in which virtuosity serves a richly ornate composition.
Performers (the Spanish way!)
Francisco Mañalich – tenor & viola da gamba
Aude-Marie Piloz – viola da gamba & tiple
Marie Favier – alto
François Joron – tenor
Jan Jeroen Bredewold – baxo
Cyrille Métivier – corneto, vihuela de arco & alto
Sarah Lefeuvre – tiple & flautas dulces
Daniela Maltrain – vihuela de arco & tiple
Patrick Wibart – serpentón / or Rémi Lécorché – sackbut
Camille Rancière – vihuela de arco & baxo
Lauren Sauron – percusiones