La péninsule ibérique médiévale, qu'en arabe on nomme “al-Andalus”, a été un point de rendez-vous unique pour les cultures juive, musulmane et chrétienne. Cet environnement incomparable a donné naissance à trois grandes traditions musicales: la musique séfarade, la musique andalouse et la musique de la Renaissance espagnole. L’ensemble vocal One Equall Musick, l'Ensemble Séfarade et Méditerranéen (ESEM) et la chanteuse Lamia Yared vous offrent une soirée entremêlant ces traditions musicales, une aventure au coeur de l’héritage andalou.
How do musicians respond to rapid cultural change? Choristers and organists faced this question head on in the late 1540s as the English church services went from late medieval catholicism to full blown protestantism in the space of a few months. The new services required new music - often this meant counterfeiting (adding new English lyrics) old Latin motets, but it also meant composing new works that fit the mood of the times. Edwardine England (1547-1553) was an age of musical experimentation as composers and musicians sought to figure out what would work best with a new language, new services, and challenges to their craft. The most ardent reformers didn't like choirs very much and sought to emphasize congregational singing. The pieces we're left with are a hodge-podge of repurposed late medieval choral polyphony, homophonic chant-like psalms, and a series of first-species counterpoint pieces. Our concert will explore a range of works for Men’s Choir from the Wanley Partbooks (c.1549-c.1551), from short 30 second sentences, to interpolated organ and choral settings, anthems, and a five-part men’s communion setting. We’re very pleased to welcome Adrian Foster, who will be offering works from the Mulliner Book, a contemporary manuscript of organ music. Many of the pieces are best described as 'one off' functional liturgical music. But there are diamonds amidst the rough - Thomas Tallis's If Ye Love Me, being the most famous.
Ensemble Scholastica hosts an evening gala to celebrate Cecilia, Patroness of music and musicians. Concert with Ensemble Scholastica and our guests, vocal ensemble One Equall Musick: 10th century plainchant for Cecilia's Day and a 16th century 12-voice Mass to Cecilia by the great Renaissance composer Palestrina. Followed by a fundraising gala to benefit Ensemble Scholastica, featuring musical performances by several other special guests. This gala concert in honour of St. Cecilia, patroness of music and musicians, includes a twelve-voice mass by Palestrina and tenth-century plainchant for St. Cecilia’s Day. One Equall Musick is excited to collaborate with medieval specialists Ensemble Scholastica under the direction of Rebecca Bain.
Transcendent music of the early baroque, including the Musicalische Exequien of Heinrich Schütz, Israelbrünnlein by Johann Hermann Schein, and excerpts from Symphoniae Sacrae of Giovanni Gabrieli. With guest artists Hans-Ola Ericsson and Mark McDonald, organ; Ryan Gallagher, cello; and Lena Weman, violone.
What is the mortal life? The music of Sweelinck, Schutz and Monteverdi traces a map of human experience, from the sublime to the mundane, through psalm settings and spiritual madrigals.
English choral music was transformed in the middle years of the sixteenth century as England disavowed the church of Rome, became Protestant, then Catholic again, and finally Protestant once more. The music of Thomas Tallis embodies the evolution from the stark aesthetic of the Eton Choirbook to the refined polyphony of William Byrd. Alongside Tallis’ compositions, this program includes remarkable gems hidden in rough of manuscript collections like the Wanley and Lumley Partbooks, as well as the last great English choral antiphon, William Mundy's Vox Patris Caelestis.
One Equall Musick was honoured to collaborate with organist Hans-Ola Ericsson, singing Bach’s chorale settings as part of the performance of the Clavier-Übung III. The concert took place in St. Joseph’s Oratory as part of the 2013 Montreal Bach Festival.
Choral Psalmody 1450-1650