Sebastián de Vivanco News
Spanish priest and composer
- Spain
- composer, university teacher
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2024-04-24
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2023-10-06 14:49:00
Harmonies of Heaven and Earth: music by Weelkes, Byrd and their contemporaries alongside three contemporary female composers
Luminatus is a vocal ensemble, directed by David Bray, that puts on concerts in the East Midlands and East of England. For their next concert on 28 October 2023 at Downing Place United Reformed Church, Cambridge, CB2 3EL, the ensemble is mixing Renaissance and contemporary music. The Renaissance selection features music by Byrd and Weelkes, to highlight the 400th anniversary of their death, plus music by Cipriano de Rore, Pedro de Cristo, Ippolito Baccusi, Sebastian de Vivanco and movements from the Missa Ad te levavi oculos meos by Philippe de Monte, who knew Byrd. De Monte and Byrd probably met when King Philip II of Spain brought the Capilla Flamenca, in which de Monte sang, to England for his marriage to Queen Mary I. Capilla Flamenca and the Chapel Royal sang together at the wedding, and it is assumed Byrd and de Monte met then. That they stayed in contact is indicated by their […]
2017-08-04 08:42:16
[…] freshness of voices to take care of blend and balance, with plenty left in reserve for the longer spans of the two magnificent Victoria anthems, Vadam et circuibo and Vidi speciosam. Small choirs of semi-pro ex-Oxbridge choral scholars are not exactly thin on the ground, but with that background in mind, you may still find something new and different: I did, in the naively affecting declamations and unisons of Ceballos and the madrigalian business of Vivanco. Hi-Res flac 24-96
The Boston Musical Intelligencer
2017-02-26 20:43:29
[…] Rome, composed his famous motet “O vos omnes qui transitis” (O all ye that pass by) to a text from the Old Testament Lamentations, adopted into the liturgy for Holy Saturday as an expression of deepest sorrow for the death of Jesus. The four-voice setting was moving in its restraint, making the chordal outcry on the word “attendite” (attend) all the more effective. Stile Antico (file photo) A close contemporary of Victoria, Sebastian Vivanco (ca. 1551-1622) remained in his native Spain throughout his career, producing a large number of Masses and motets. Apparently unperturbed by its sensual imagery, late medieval Christians reinterpreted the Old Testament Song of Songs as an allegory in praise of the Virgin Mary. Vivanco’s setting of “Veni, dilecte mi” (Come, my beloved) for eight-voice double choir was joyfully straightforward, delivering the text with lively rhythms in largely syllabic style. By contrast, a motet on […]
The Boston Musical Intelligencer
2016-04-03 18:10:19
Herons in Seville’s Golden Age
[…] 1482) with Rood and Metcalfe on harp, was the high poinp, and last piece, of the first half. Another delightful offering was Francisco Guerrero’s (d. 1599) “Que been año” from his 1589 Canciones y villanescas spirituals, performed by Rood and two cornettos. The concert’s second half featured sacred music by Alonso Lobo (1555-1617), Francisco Guerrero (1528-99), Cristóbal de Morales (c. 1500-1553), and finally, a masterwork for all the performers, “Magnificat sexti toni by Sebastián de Vivanco (c.1551-1622). Once again, Blue Heron has performed mostly unknown music of the 15th and 16th centuries with immediacy, intelligence, and heartfelt musicality. Their collaboration with Dark Horse Consort was enjoyable, but I generally prefer to hear the magnificent voices of these singers without any instruments, except, perhaps, for the quirky harp Metcalfe has come to play so well. Susan Miron is a book critic, essayist, and harpist. Her last two CDs featured her transcriptions […]
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