Music for Milan Cathedral

Music for Milan Cathedral
Siglo de Oro, Patrick Allies
Delphian DCD34224. 66’26

Rather sensibly, Siglo de Oro has called this recording Music for Milan Cathedral, rather than The Motets of Hermann Matthias Werrecore which, in effect, is what it is. Werrecore (c1500->1574) is an almost totally unknown composer who became maestro di cappella of Milan Cathedral in 1522 and stayed until 1550. Confusion with another composer with a similar name didn’t help him become better known, nor did the prominence of other composers connected with Milan, including one of Werrecore’s predecessors, Josquin des Prez (c1450-1521). This excellent recording by Siglo de Oro is a well-deserved attempt to revive interest in this fascinating composer whose music, by the standards on this recording, is well worth exploring.

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Hieronymus Praetorius: Missa Tulerunt Dominum Meum

Hieronymus Praetorius: Missa Tulerunt Dominum Meum
Siglo de Oro, Patrick Allies
Delphian DCD34208. 59’27

Hieronymus Praetorius is one of the finest, but one of the least-known, of the magnificent sequence of North German organist-composers centred around Hamburg during the 17th century.  He represents what to many is a surprising reflection of the state of music in Hamburg in the years before the influence of the Amsterdam-trained generation of Sweelinck pupils. These included Hieronymus’s own sons, Jacob II and Johannes, together with Samual Scheidt, Heinrich Scheidemann and Melchior Schildt.  In the ‘family-business’ world of German organists, Hieronymus was the son of an organist (Jacob I) and eventually replaced him as organist of the Hamburg Jacobikirche.  Continue reading

Bach in Advent: Clavier-Übung III

Bach in Advent
David Titterington, Siglo de Oro, Patrick Allies
Bach Clavier-Übung III ‘German Organ Mass’
St John’s, Smith Square. 21 December 2017

During the three-week run-up to Christmas, St John’s, Smith Sq has been running a series of free early evening organ recital, given by the curator of the SJSS Klais organ, David Titterington, and focussed on the music of JS Bach. The two I had intended to hear before evening concerts were both cancelled, but I did catch the evening concert that concluded the series. This was a performance of the major pieces from Bach’s Clavier-Übung III, occasionally referred to this Bach’s monumental work, the largest single collection of his organ music. It was published in 1739 and includes a wide range of musical style, in the form of chorale preludes (in pairs, with larger pedaliter and smaller manualiter arrangement) based on the German Lutheran Mass, together with four duets, the whole enclosed with a large-scale Praeludium and Fugue – the latter known in the UK as the ‘St Anne Fugue’ after the hymn tune which the theme resembles.  Continue reading

SJSS: Holy Week Festival

Siglo de Oro & New London Singers
St John’s, Smith Square: 
Holy Week Festival. 15 April 2017

WP_20170415_12_49_34_Pro (2).jpgThe St John’s, Smith Square Holy Week Festival (also reviewed here and here) concluded with a vocal workshop and lunchtime concert with Siglo de Oro and an evening concert from the New London Singers. The morning workshop was led by Patrick Allies, director of Siglo de Oro, and focussed on Bach’s motet Jesu meine freude, giving useful insights into the structure, text and musical contents of this most complex piece. Siglo de Oro’s lunchtime concert sandwiched this piece between two shorter meditative pieces by Purcell Hear my Prayer, and Remember not, Lord, our offences, concluding with Domenico Scarlatti’s Stabat Mater a 10.  Continue reading

Siglo de Oro: Drop down, ye heavens

Drop down, ye heavens
Advent antiphons for choir and saxophone
Siglo de Oro, Patrick Allies, director, Sam Corkin, saxophones
Delphian DCD34184. 64’45

I reviewed the concert given by Siglo de Oro during the 2016 Spitalfields Winter Festival (here), and have now been sent the CD that includes most of the music from that concert, including the eight ‘O antiphons’ commissioned by the group. These are based on the Catholic tradition of including special Magnificat antiphons, each beginning with the letter ‘O’, during Advent week services. The well-known Advent hymn O come, O come, Emmanuel, is a paraphrase of one of these antiphons. Each of the new commissions (all in English) adds the distinctive sounds of a saxophone to the choir. Acting as a foil to the eight new commissions are three Renaissance O antiphons are included, by Pierre Certon, Antoine de Mornable, and Josquin des Prez. Continue reading

Spitalfields Music: Siglo de Oro

Spitalfields Music
Siglo de Oro

Patrick Allies conductor, Sam Corkin saxophones
St Leonard’s Church, Shoreditch. 10 December 2016

Music by Judith Weir, Will Todd, Pierre Certon, Matthew Kaner, Sam Rathbone, Antoine Mornable,
Bonnie Miksch, Francis Pott, Hieronymus Praetorius, Richard Allain, Gareth Wilson, Stuart Turnbull, Josquin des Prez, Ralph Allwood, Owain Park.

Spitalfields Music has long had a reputation for encouraging new groups and performers. One such was the a-cappella vocal group Siglo de Oro, whose professional debut was in the 2014 Spitalfields Music Winter Festival, although they had been singing together since their London student days. They are one of a number of such groups that get a quick invitation back, on this occasion with a well-constructed Advent programme that included an impressive number of new commissions.

A long-held tradition in the Catholic church has been to include in services in the Advent week before Christmas a set of special Magnificat antiphons, each beginning with the letter ‘O’, giving them the name of the ‘O Antiphons’ or the ‘Great Os’. The best known example stemming from this practice is the Advent hymn O come, O come, Emmanuel, which is a paraphrase of the last of these antiphons. Each of the O antiphons reinforce the Biblical prophecies of his birth. Siglo de Oro commissioned eight composers to write contemporary versions of these antiphons, which they presented alongside settings from Renaissance composers. Each of the new commissions includes a saxophone.  Continue reading