JOSEPH HAYDN (1732-1809)Sinfonía 44 en Mi m. Hob.I/44 ‘Trauer’ [Fúnebre] (1772)(version used at Seville Cathedral)

01 Allegro con brio 6:2302 Minueto: Allegreto 4:3803 Adagio 8:0104 Finale: Presto 3:23

ANTONIO RIPA (1718-1795)Vau, Lamentación 2ª de Jueves Santo, para soprano y orquesta(1781, unpublished)

05 Vau. Et egressus est. Tempo iusto 2:4506 Zain. Vivo non di molto 1:0507 Recordata est. Moderato 2:4708 Heth. Andantino 1:2709 Peccatorum. Despacio 3:3310 Teth. Andante assay 1:3411 Sordes eius. Moderato sentado 3:1612 Ierusalem. Tempo Iusto 1:18

TRAUERMUSIK IN 18TH CENTURY ANDALUSIA

JOSEPH BARRERA (1729-1788)Ofertorio. Concierto de Órganocon VV.nes y Oboes (1784)

13 Andante Spiritoso 2:48

JAIME BALIUS Y VILAConcertino para trompa y orquesta

14 Allegretto. Larghetto 8:47

JOSEPH BARRERA Offertorio con Violines y Trompas y Organo obligado (1786)

15 Allegro 3:21

total time: 55:18

World première recordingsThe original orthography of the titles has been respected

sopranoorgannatural hornconductor

JULIA DOYLEALEJANDRO CASAL

JORGE RENTERÍAENRICO ONOFRI

VIOLIN I Enrico Onofri (concertmaster on tracks 1-12), Alexis Aguado (concertmaster and solo on tracks 13-15), Oriol Algueró, Miguel Romero, José Manuel VillarrealVIOLIN II Leo Rossi, Valentín Sánchez, Antonio Almela, Raquel BatallosoVIOLA José Manuel Navarro, María RamírezCELLO Mercedes Ruiz, Anastasia BaravieraDOUBLE BASS Ventura RicoHARPSICHORD & ORGAN Alejandro Casal (solo on tracks 13, 15) HARP Sara ÁguedaFLUTE Guillermo Peñalver, Fernanda TeixeiraOBOE Rodrigo Gutiérrez, Jacobo DíazNATURAL HORN Jorge Rentería (solo on track 14), Luis DelgadoBASSON Luis Castillo, Marta Calvo

(1750-1822)

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PROYECTO ATALAYA Recovery of Andalusian Musical Heritage

Since 2005 the Atalaya Project has, under the auspices of the Andalusian Regional Government’s Council for Knowledge, Research and University, brought together the ten public Andalusian universities to cooperate towards the promotion of various cultural initiatives of the utmost interest. One of them, Andalusian Musical Heritage, aims to recover and disseminate unpublished works from our rich musical heritage, as well as to assist in the consolidation of music ensembles at the university level. The 2018/2019 academic year marks the tenth anniversary of the University of Seville leading this program. From the very beginning, it has collaborated closely with the Orquesta Barroca de Sevilla, who has also been responsible for carrying out the musicological research, selection, transcription, critical review, and sound recording for this CD. As has been the case every previous year, this project has also taken the orchestra on a series of concerts through Andalusian university campuses. As rector of the University of Seville, I am proud to be able to contribute to this valuable dissemination of a musical heritage testifying to the great level of composers who originated from or were active in Andalusia yet remain all but unknown. By recording some of this research onto a CD, and simultaneously publishing the music contained therein, these previously inaccessible cultural riches are finally brought to the general public. This project focuses on the works of Jaime Balius, Antonio Ripa and Joseph Barrera (musicians who worked at the cathedrals of Cordoba, Seville and Malaga), and is complemented with a version of Haydn’s Symphony No. 44 found at the archive of the Seville Cathedral. As in previous occasions, the inaugural concert which took place in December 2013 at the Church of the Annunciation in Seville was broadcast and recorded, and performed once again at Santa Clara de Moguer Convent (under the auspices of UNIA [International Andalusian University]) and at the San Jerónimo Monastery as part of the cultural programming of the University of Granada. The task before us is still immense. Yet giving this unjustly neglected part of our culture its due is as exciting as it is essential.

Miguel Ángel Castro Arroyo Rector of the University of Seville

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SEVILLA 1814

Viena fue durante la segunda mitad del siglo XVIII el epicentro del desarrollo y difusión de las nuevas tendencias estéticas y técnicas compositivas que caracterizarían al Clasicismo. Durante este periodo se fueron asentando la forma sonata, la sinfonía y el cuarteto de cuerda, ajustados al gusto de una burguesía emergente. La Revolución Francesa marcaría en 1789 el inicio de un conflicto entre potencias europeas, entre las ideas republicanas y las monárquicas, entre lo religioso y lo laico, entre lo cosmopolita y los nacionalismos, que afectó al hombre europeo en todas las facetas de la vida.

Una de las consecuencias de esta nueva visión de la sociedad sería la paulatina pérdida sufrida por las catedrales como centros de creación musical a lo largo del siglo XVIII. Incluso en el seno de los propios centros litúrgicos, los compositores adscritos a los tradicionales magisterios de capilla asimilaron un estilo claramente influido por las tendencias modernas de la música profana, aplicadas a los textos sagrados y a las ceremonias litúrgicas.

Antonio Ripa tomó el cargo de maestro de capilla de la catedral de Sevilla en 1768, una vez fallecido Pedro Rabassa. La generación de compositores posterior a Rabassa, a la que Ripa pertenece, fue abandonando algunas de las técnicas compositivas frecuentes en el periodo barroco como el uso del bajo continuo, las figuras retóricas, el virtuosismo en la voz solista, las texturas contrapuntísticas y la policoralidad, para adentrarse en otros modelos compositivos más acordes con el nuevo estilo galante, aunque todos, en general, dominaban el empleo de varias prácticas que usaban dependiendo de la funcionalidad de las obras. Por influencia de la música teatral, el número de obras compuestas para uno o varios solistas fue en aumento a la vez que descendía el volumen de obras policorales. La nueva tendencia estética incluía un tratamiento más libre de la voz solista, que combinaba pasajes muy adornados con notas largas moldeadas expresivamente por el cantante, alejadas

por lo tanto del estilo estricto, de las normas del contrapunto, y de la velocidad y complejidad presentes en el barroco. Las progresiones melódicas estandarizadas son menos frecuentes en Ripa, donde apreciamos el uso de líneas melódicas que pasan por modulaciones más alejadas en el círculo de quintas y que incluyen con mayor frecuencia un uso más libre de las notas alteradas.

La lamentación Vau. Et egressus est, compuesta posiblemente en el año 1781 para ser interpretada en los maitines del Jueves Santo durante la segunda lectura, es una de las once lamentaciones listadas en noviembre de 1797 en la Gazeta de Madrid, junto al resto del amplio repertorio dejado por el compositor tras su muerte dos años antes. El texto de las lamentaciones está formado por un conjunto de letras hebreas que se musicalizan (Vau, Heth) seguidas cada una de ellas de un verso en latín, y que constituyen un conjunto de elegías por la destrucción de la Ciudad Santa de Jerusalén. Esta tragedia aparece levemente difuminada en la obra de Ripa, que en muchas ocasiones presenta un carácter lúdico y desenfadado acorde con un pensamiento estético donde “la música, aun en los momentos más terribles, no debe ofender nunca el oído, sino resultar agradable”.

Atendiendo a los fondos documentales conservados, en las catedrales españolas la composición de música puramente instrumental fue excepcional (no olvidemos que el propio estilo instrumental había surgido durante los periodos renacentista y barroco de la improvisación sobre modelos vocales). Por ello, los conciertos para órgano de Joseph Barrera conservados en el archivo de la Catedral de Málaga, así como el concertino para trompa de Jaime Balius rescatado de la Catedral de Córdoba representan una muestra de un repertorio limitado. Jaime Balius fue considerado uno de los compositores más prestigiosos de su época. Ejerció como maestro de capilla en la catedral cordobesa entre 1785 y 1822, y es el más prolífero en la historia de esta catedral.

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Las catedrales hispanas no solamente fueron centros de creación e interpretación de música de carácter estrictamente litúrgico, sino que también supieron absorber las tendencias más modernas de los más renombrados compositores centroeuropeos. De todos los grandes compositores de esta época, sin duda alguna, fue Joseph Haydn el que logró difundir su repertorio en España con mayor éxito, y sus obras aparecen a lo largo de toda la Península en versiones manuscritas e impresas.

En la Catedral de Córdoba se conserva al menos una copia de un cuarteto de cuerda de Haydn donde aparece la rúbrica de Balius, además de varias de sus sinfonías. Por otro lado, en la catedral sevillana encontramos sus sinfonías número 44, 52, 53, 82 y 92. Aunque no sabemos con total seguridad cómo y cuándo llegaron estas obras al archivo hispalense (su reseña no aparece en el inventario de música del año 1825), sí tenemos constancia de que Lord Wellington, líder británico durante la guerra de la Independencia, donó al cabildo un “cajón de música” antes de abandonar la ciudad en el año 1814, y que el cabildo encomendó al maestro de capilla sucesor de Ripa, Domingo Arquimbau, el inventario de las mismas.

La sinfonía número 44 de Haydn, titulada Trauer (fúnebre), fue compuesta en el año 1772 en la estructura habitual de cuatro movimientos. La versión conservada en la catedral hispalense es una copia manuscrita que presenta la rúbrica de Arquimbau, así como algunas manchas de cera e indicaciones dinámicas y de articulación que difieren de la versión original, lo cual parece narrarnos la historia de un documento que no sólo fue depositado en los archivos sino que fue interpretado en la catedral.

Sin duda alguna, el legado propio de los compositores hispanos junto con la tradición sinfónica centroeuropea conforma en esta época un panorama musical de enorme valor artístico y musicológico. Investigar sus conexiones podrá proporcionarnos todas las claves para la difusión del pensamiento musical y las técnicas compositivas de los siglos XVIII y XIX en España.

Juan María Suárez Martos • Universidad de Sevilla

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SEVILLE 1814

During the second half of the eighteenth century, Vienna stood at the epicentre of the development and dissemination of aesthetic trends and compositional techniques that were to become characteristic of the classical style. In this period the sonata form, the symphony, and the string quartet were established, catering to the tastes of an emergent bourgeoisie. And the French Revolution of 1789 marked the beginning of a conflict within European powers that pitted republican against monarchic, religious against secular and cosmopolitan against nationalist ideas, which greatly affected Europeans in all areas of life.

One of the consequences of this new view of society was that cathedrals gradually lost their foothold on creative musical activity. Even within liturgical circles, composers appointed to the traditional tasks of the chapel were assimilating a style clearly influenced by secular music trends.

Antonio Ripa took over as maestro de capilla at the Seville cathedral in 1768, after Pedro Rabassa’s death. Composers of the generation following Rabassa (to which Ripa belonged) were moving away from common baroque compositional procedures: basso continuo, rhetorical figures, virtuoso solo vocal lines, contrapuntal textures and polychorality all gave way to models more in accord with the new galant style, although generally they were also capable of accommodating the older practices if the occasion demanded it. Because of the great influence of stage music, the number of works composed for one or more soloists increased while the volume of polychoral works decreased. The new aesthetic also demanded freer writing of solo voice parts: richly ornamented passages were combined with long notes expressively moulded by the singer, thus further distancing itself from the strict style, contrapuntal norms, and overall complexity typical of the baroque period. Ripa eschews standardized

melodic progressions and often modulates far into the circle of fifths, requiring more frequent use of altered notes.

The lamentation Vau. Et egressus est, possibly written in 1781 to be performed during the second reading of the matins on Holy Thursday, is one of the eleven lamentations listed in November 1797 in the Gazeta de Madrid alongside much other music that was bequeathed after Ripa’s death a couple of years prior. The text of the lamentations comprises a musicalized group of Hebrew letters (Vau, Heth) each followed by a verse in Latin, which combine into a set of elegies to the destruction of the sacred city of Jerusalem. Yet Ripa’s depiction of this tragic event often betrays a playful character – which would seem to heed Mozart’s dictum that ‘music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music’.

Turning now to the extant documents, composing instrumental music in Spain’s cathedrals was indeed quite rare  – let us not forget that the very notion of a purely instrumental style arose during the renaissance and baroque periods from improvisation over vocal models. Thus, the organ concertos by Joseph Barrera and Jaime Balius’ Concertino for horn, preserved at the Malaga and Cordoba cathedrals respectively, represent a rather limited repertoire. Jaime Balius became one of the most prestigious composers during his time as maestro de capilla of the Cordoba cathedral between 1785 and 1822, as well as the most prolific in the cathedral’s history.

As we have seen, Spanish cathedrals were centres for the composition and performance of strictly liturgical music, but they also managed to assimilate the newest trends that originated with renowned central European composers. Of all

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the great composers of this period Joseph Haydn was, to be sure, the one who most successfully had his music disseminated in Spain, turning up throughout the peninsula in both manuscript and printed form.

At the Cordoba cathedral there is at least one copy of a string quartet by Haydn showing Balius’ signature, in addition to several of his symphonies. And, at the Seville Cathedral we also find his Symphonies nos. 44, 52, 53, 82 and 92. Although we cannot be absolutely certain how and when these works made their way into the Seville archives (there is no record of them in the music inventory of 1825), we do know that the Duke of Wellington, commander of the British forces during the War of Independence, presented the council with a ‘music cabinet’ before leaving the city in 1814, and that they in turn entrusted music director Domingo Arquimbau with its inventory.

Haydn’s Symphony No. 44, subtitled Trauer (‘Mourning’), was written in 1772 in the usual four movements. The version preserved at the Seville Cathedral is a manuscript copy featuring Arquimbau’s signature as well as wax stains and dynamic and articulation indications – some deviating from the original version –, which probably points to actual performance.

The legacy of these Spanish composers as it stands next to the central European symphonic tradition of this period constitutes a highly valuable musical landscape indeed, both in artistic and musicological terms. Further research into the interconnectedness of these traditions could shed light on the dissemination of musical thought and various compositional trends in Spain during the eighteenth and nineteenth centuries.

Juan María Suárez Martos • University of Sevilla Translation: David Aijon

SÉVILLE 1814

Pendant la seconde moitié du dix-huitième siècle, Vienne se trouvait à l’épicentre du développement et de la diffusion des tendances esthétiques et des techniques de composition qui deviendraient caractéristiques du classicisme. C’est durant cette période que furent établis la forme sonate, la symphonie et le quatuor à cordes, répondant aux goûts de la bourgeoisie émergente. La Révolution française de 1789 marqua le début d’un conflit qui opposa les différents pouvoirs européens, républicain et monarchique, religieux et séculaire, cosmopolite et nationaliste, ce qui affecta grandement les Européens dans tous les domaines de la vie.

Une des conséquences de cette nouvelle société fut que les cathédrales perdirent progressivement leur place centrale dans la création musicale. Même au sein des cercles liturgiques, les compositeurs en charge des chapelles se laissèrent influencer dans leur style par les courants de musique profane.

Antonio Ripa prit la charge de maître de chapelle à la cathédrale de Séville en 1768, à la mort de Pedro Rabassa. Les compositeurs de la génération suivant Rabassa (dont fait partie Antonio Ripa) s’éloignèrent des procédés habituels de composition baroque  : basse continue, figures rhétoriques, solo vocal virtuose, contrepoints et polychoralité laissèrent la place à des modèles plus en accord avec le nouveau style galant. Cependant, ces compositeurs étaient généralement capables d’utiliser les anciennes pratiques si l’occasion le requerrait. A cause de l’influence grandissante de la musique de scène, le nombre d’œuvres composées pour un ou plusieurs solistes augmenta tandis que le volume d’œuvres polychorales diminua. Cette nouvelle esthétique demandait une écriture plus libre des parties solistes : des passages richement ornementés étaient combinés à de longues notes auxquelles le chanteur devait donner de l’expressivité. Ce faisant, le compositeur se distance encore plus du style strict, des normes contrapuntiques et de la complexité générale typiques de la période baroque. Ripa renonce aux

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progressions mélodiques standards et module régulièrement au ton éloigné, utilisant plus fréquemment des notes altérées.

La lamentation Vau. Et egressus est, composée probablement en 1781 pour être interprétée pendant la deuxième lecture des matines du Jeudi saint, est l’une des onze lamentations listée en 1797 dans la Gazeta de Madrid avec bien d’autres œuvres léguées par Ripa à sa mort quelques années auparavant. Le texte de ces lamentations comprend une mise en musique d’un groupe de lettres hébraïques (Vau, Heth), chacun suivi d’un verset en latin créant un ensemble d’élégies pour la destruction de la ville sacrée de Jérusalem. Pourtant, la description de Ripa de cet évènement tragique présente souvent un caractère enjoué et insouciant – semblant ainsi suivre l’affirmation de Mozart comme quoi la « musique, même dans les pires situations, ne devrait jamais être pénible à l’oreille et devrait au contraire la charmer et la flatter, et demeurer ainsi toujours de la musique ».

En consultant maintenant les documents existants, on peut affirmer que la composition de musique instrumentale était rare dans les cathédrales espagnoles. N’oublions pas que la notion même d’un style purement instrumental découla d’improvisations sur des modèles vocaux durant la Renaissance et la période baroque. Dès lors, les concertos pour orgue de Joseph Barrera et le Concertino pour cor de Jaime Balius, conservés respectivement à la cathédrale de Malaga et à celle de Cordoue, représentent un répertoire relativement limité. Jaime Balius, lorsqu’il était maître de chapelle à la cathédrale de Cordoue de 1785 à 1822, devint l’un des compositeurs les plus prestigieux de son temps mais aussi l’un des plus prolifiques de l’histoire de la cathédrale.

Comme nous l’avons vu précédemment, les cathédrales espagnoles n’étaient pas seulement le centre de compositions et d’interprétations musicales strictement liturgiques, elles réussirent également à assimiler les tendances les plus modernes des compositeurs renommés d’Europe centrale. Parmi tous les grands

compositeurs de cette époque, Joseph Haydn est celui qui a sans doute le mieux réussi à diffuser son répertoire en Espagne et ses œuvres figurent dans toute la péninsule en versions manuscrites et imprimées.

Il existe au moins une copie d’un quatuor à cordes de Haydn portant la signature de Balius ainsi que plusieurs copies de ses symphonies à la cathédrale de Cordoue. Tandis qu’à la cathédrale de Séville, on peut trouver les Symphonies n° 44, 52, 53, 82 et 92. Bien qu’on ne soit pas absolument certain de la date et de la manière dont ces œuvres sont arrivées dans les archives de Séville (il n’y en a aucune trace dans l’inventaire de 1825), nous savons que le Duc de Wellington, commandant des forces britanniques lors de la Guerre d’indépendance espagnole, présenta un «cabinet de musique» au conseil avant de quitter la ville en 1814 et que le conseil, à son tour, en confia l’inventaire au maître de chapelle Domingo Arquimbau.

La Symphonie n° 44, dite Funèbre (‘Trauer’ en allemand), de Haydn fut écrite en 1772 dans la structure habituelle de quatre mouvements. La version conservée à la cathédrale de Séville est une copie manuscrite portant la signature d’Arquimbau ainsi que des tâches de cire et des indications de nuances et d’articulations qui diffèrent de l’original, ce qui démontre qu’elle a probablement été réellement interprétée.

L’héritage des compositeurs espagnols et la tradition symphonique d’Europe centrale à cette période forment sans aucun doute un paysage musical d’une énorme valeur artistique et musicologique. De plus amples recherches sur les interconnexions de ces traditions pourraient nous éclairer sur la diffusion de la pensée musicale et des tendances compositionnelles en Espagne au dix-huitième et dix-neuvième siècle.

Juan María Suárez Martos • Université de SévilleTraduction : Wendi Duqué

ANTONIO RIPA Vau, Lamentación 2ª de Jueves Santo, para soprano y orquesta (1781)

05 VAU. Et egressus est a filia Sion omnis decor eius: facti sunt principes eius velut arietes non invenientes pascua: et abierunt absque fortitudine ante faciem subsequentis.

06 ZAIN.

07 Recordata est Ierusalem dierum afflictionis suæ, et prævaricationis omnium desiderabilium suorum, quæ habuerat a diebus antiquis, cum caderet populus eius in manu hostili, et non esset auxiliator: viderunt eam hostes, et deriserunt Sabbata eius.

08 HETH.

VAU. Perdido ha la hija de Sión toda su hermosura, sus príncipes han venido a ser como carneros descarriados que no hallan pastos, y han marchado desfallecidos delante del perseguidor que los conduce.

ZAIN.

Jerusalén trae a su memoria aquellos días de su aflicción y sus prevaricaciones y todos aquellos bienes de que gozó desde los antiguos tiempos. Acordóse de todo eso al tiempo que caía o perecía su pueblo por mano enemiga, sin que acudiese nadie a socorrerle, viéronla sus enemigos y mofáronse de sus solemnidades.

HETH.

VAU. And from the daughter of Zion has departed all her beauty; Her princes have become like rams that find no pastures, And they have fled without strength before the face of the pursuer.

ZAIN.

Jerusalem remembered, in the days of her affliction and wandering, All her precious things that she had from ancient days, When her people fell into the hand of the foe, and there was none to help her; Enemies saw her and derided her Sabbaths.

HETH.

VAU. La fille de Sion a perdu toute sa beauté : ses princes ont été dispersés comme des béliers qui ne trouvent point de pâturage : ils se sont enfuis, sans courage et sans force, devant l’ennemi qui les poursuivait

ZAIN.

Jérusalem s’est souvenue des jours de son affliction et de sa désobéissance, et de tout ce qu’elle avait eu autrefois de plus précieux et de plus désirable, lorsqu’elle a vu son peuple tomber entre les mains de son ennemi, sans avoir de secours de personne : ses ennemis l’ont regardée avec mépris, et ils se sont moqués de ses fêtes.

HETH.

09 Peccatum peccavit Ierusalem, propterea instabilis facta est: omnes, qui glorificabant eam, spreverunt illam, quia viderunt ignominiam eius: ipsa autem gemens conversa est retrorsum.

10 TETH.

11 Sordes eius in pedibus eius, nec recordata est finis sui: deposita est vehementer, non habens consolatorem: vide Domine afflictionem meam, quoniam erectus est inimicus.

12 Ierusalem, Ierusalem, convertere ad Dominum Deum tuum.

Enorme pecado fue el de Jerusalén, por eso ha quedado ella divagando sin estabilidad. Todos aquellos que la elogiaban la han despreciado por haber visto sus inmundicias: y ella misma sollozando, volvió su rostro hacia atrás llena de vergüenza.

TETH.

Hasta sus pies llegan sus inmundicias, ella no se acordó de su fin, está profundamente abatida, sin haber quien la consuele. Mira, Señor, mira mi aflicción porque el enemigo se ha engredido.

Jerusalén, Jerusalén, conviértete al Señor tu Dios.

Jerusalem hath grievously sinned, therefore is she become unstable: all that honoured her, have despised her, because they have seen her shame: but she sighed and turned backward.

TETH.

Her filthiness is on her feet, and she hath not remembered her end; she is wonderfully cast down, not having a comforter: behold, O Lord, my affliction, because the enemy is lifted up.

Jerusalem, Jerusalem, turn to the Lord your God.

Jérusalem a commis de grands crimes ; c’est pourquoi elle est errante et sans demeure assurée. Tous ceux qui l’élevaient autrefois l’ont méprisée, parce qu’ils ont vu son ignominie : et elle, en gémissant, a tourné la tête en arrière.

TETH.

Ses souillures ont paru sur ses pieds, et elle ne s’est point souvenue de sa fin : elle est tombée dans un extrême abattement, sans avoir personne qui la console. Voyez mon affliction, Seigneur, et l’insolence de mon ennemi.

Jérusalem, Jérusalem, convertissez-vous au Seigneur votre Dieu.

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Originally from Lancaster, Julia studied Social and Political Sciences at Gonville and Caius College, Cambridge before embarking on a singing career, and has since performed all over the world and become established as a specialist soprano in Baroque repertoire.She has performed Bach St John Passion at the Concertgebouw Amsterdam (Sir John Eliot Gardiner), and in Toronto (Tafelmusik), St Matthew Passion at Alice Tully Hall in New York (Philippe Herreweghe), Christmas Oratorio in Sydney and Melbourne with the Australian Chamber Orchestra (Richard Tognetti), BWV 202 with Music of the Baroque in Chicago (Nicholas Kraemer), BWV 199 with Bach Vereniging (Alfredo Bernadini), Mozart Exsultate Jubilate at the Cité de la Musique in Paris (Arsys Bourgogne), Mass in C Minor in Budapest (Györgi Vashegyi), Handel Occasional Oratorio at the Halle Handel Festival (English Concert), La Resurezzione at the Wigmore Hall (London Handel Orchestra), Messiah at the Royal Albert Hall with the Royal Philharmonic Orchestra (Richard Cooke) and at the Palace of Versailles

with The King’s Consort (Robert King), Apollo e Dafne with Concerto Copenhagen (Alfredo Bernadini), Haydn Nelson Mass in the Canary Islands with the Orchestra of the Age of Enlightement (Eamonn Dougan), Haydn Paukenmesse and Beethoven Symphony No. 9 with J.S. Bach Stiftung (Rudolf Lutz), and Haydn Creation in St Paul’s Cathedral with the Orchestra of the Age of Enlightenment.Julia has a wide discography including recordings of Handel Messiah with Britten Sinfonia and Polyphony (Stephen Layton) as well as with The Bethlehem Bach Choir (Greg Funfgeld), Israel in Egypt with Arsys Bourgogne (Pierre Cao), L’Allegro with Kölner Kammerchor (Peter Neumann), Mendelssohn Israel in Ägypten with The King’s Consort (Robert King), Bach Magnificat with Dunedin Consort (John Butt) and also with The Bethlehem Bach Choir (Greg Funfgeld), Bach Cantatas and the Mass in B Minor with J.S. Bach Stiftung (Rudolf Lutz), Lutheran Masses with The Sixteen (Harry Christophers), Astro Nuevo: En Torno a Rabassa with Orquesta Barocca de Sevilla (Enrico

Onofri) and Lutoslawski Dwadziesci Koled with BBC Symphony Orchestra (David Zinman).Recent and future engagements include Mozart Mass in C Minor in Toronto with Tafelmusik, tours of Europe performing Vivaldi Juditha Triumphans and Messiah with The King’s Consort, Handel Aci, Galatea e Polifemo at Halle Handel Festival (Peter Neumann), performances of Messiah with the Royal Scottish National Orchestra, City of Birmingham Choir, Rias Kammerchor as well as at Canterbury Catherdral and York Minster, a European tour of St John Passion with the Orchestra of the 18th Century, Bach Cantatas with the Monteverdi Choir and Orchestra, concerts and recordings of Bach St John Passion with J. S. Bach Stiftung (Rudolf Lutz), St Matthew Passion with the Orchestra of the Age of Enlightenment, Handel Occasional Oratorio with Bayerischer Rundfunk (Akademie für Alte Musik Berlin) as well as recitals with the lutenist Matthew Wadsworth in Cambridge and Norfolk.

juliadoylesoprano.com

JULIA DOYLE soprano

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ENRICO ONOFRI conductor & violin

Enrico Onofri was born in Ravenna, Italy. His career began with an invitation from Jordi Savall to be the concertmaster of La Capella Real when he was still a student. Very soon he found himself working with groups such as Concentus Musicus Wien, Ensemble Mosaïques and Concerto Italiano.From 1987 to 2010 he was the concertmaster and soloist of Il Giardino Armonico.In 2002 he entered upon a conductor’s career, which has brought him great cri-tical acclaim and numerous invitations from orchestras, opera houses and fe-stivals in Europe, Japan and Canada. He has been the principal conductor of Divino Sospiro in Lisbon and since 2006 guest conductor with Orquesta Barroca de Sevilla. Invitations as con-ductor in the past and next years in-clude orchestras such as Akademie für Alte Musik, Kammerorchester Basel, Festival Strings Lucerne, Haydn Phil-harmonie, Vienna Chamber Orchestra, Camerata Bern, Bochumer Symphoni-ker, Tafelmusik, Il Pomo d’Oro, Orche-

stra Ensemble Kanazawa, Orchestra del Maggio Musicale Fiorentino, Real Or-questa Sinfonica de Sevilla, Orchestre de l’Opéra de Lyon, Orquesta Sinfonica de Galicia, Orchestra Metropolitana Lisbon, Real Filharmonia de Galicia, Riga Sinfonietta, Orchestre Royal de Chambre de Wallonie and more. He founded the chamber group Imagina-rium Ensemble.Enrico Onofri has performed in the world’s most famous concert halls and his recordings (Teldec, Decca, Astrée, Naive, Deutsche Harmonia Mundi/Sony, Passacaille, Nichion, Pentatone, Winter&Winter, Opus111, Virgin, Zig Zag Territoires etc.) have been awarded prestigious international prizes. Onofri has been the professor of baroque violin at the Conservatorio Scarlatti in Palermo since 1999. He has been invited to give master classes throughout Europe, Canada, USA and Japan; he is tutor and invited conductor with the EUBO (European Union Baroque Orchestra).

enricoonofri.com

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Alejandro Casal was born in Seville, where he studied piano, doublebass, composition, harpsichord and musicology at the conservatory. Later, he studied harpsichord and basso continuo with Tony Millán, Jan Willem Jansen and Jacques Ogg, taking also interest in organ.As a harpsichordist, he has played in different orchestras and ensembles, such as the King’s Consort, Cappella della Pietà de’ Turchini, Orquesta Barroca de la Universidad de Salamanca, Orquesta Ciudad de Granada, Orquesta Ciudad de Málaga, Orquesta Sinfónica de Navarra, Real Orquesta Sinfónica de Sevilla, Coro Barroco de Andalucía… He usually plays at the Orquesta Barroca de Sevilla with conductors such as Gustav Leonhardt, Monica Huggett, Christophe Coin, Pablo Valetti, Enrico Onofri, Alfredo Bernardini, Antonio Florio, Pierre Cao, Robert King, Hervé Niquet, Alan Curtis, Giuliano Carmignola, Hiro Kurosaki, Barry Sargent and many others.He has performed at London, Milano,

Lisbon, Würzburg, Toulouse, Festival de Musique Sacrée & Baroque de Froville, Festival Internacional de Música y Danza de Granada, Festival de Música Antigua de Úbeda y Baeza, Festival de Música Antigua de Gijón, Ciclo de Caja San Fernando, Festival de Música Antigua de Aranjuez, Ciclo Los Siglos de Oro de Caja Madrid, Festival de Música Antigua de Sevilla, Teatro de la Zarzuela…In 2007 he took part in the contempo-rary premiere of Domenico Scarlatti’s Ottavia with the Cappella della Pietà de’ Turchini under Antonio Florio at the Quincena Musical Donostiarra and Naples. Since then, he has played regularly with this ensemble, including the stage of L’Incoronazione di Poppea at Valladolid.Alejandro Casal made his debut recording with the label Enchiriadis performing harpsichord and organ music by Johann J. Froberger (EN2032) with excellent reviews by the critic. The CD was chosen as one of the ten best recordings of the year by Ritmo

ALEJANDRO CASAL harpsichord & organmagazine. He has recently released the very first complete recording of Sebastián de Albero’s (1722-1756) Recercatas, fugas y sonatas as a whole (Brilliant Classics).Under Enrico Onofri, he has made the first recording of Joseph Barrera’s (1729-1788) organ concerts with the Orquesta Barroca de Sevilla and the Sonata by Pere Rabassa (1683-1767). He has also taken part in different recordings with the labels Aqhai, Verso, Prometeo, Documentos Sonoros de la Junta de Andalucía, as well as RNE- Radio Clásica and Canal Sur.He has tought at the Universidad de Cádiz, Universidad de Sevilla and P. A. Soler Conservatory at El Escorial and, as an accompanist, in many Ancient Music stages. He has been the principal player of Coro Barroco de Andalucía. He is the harpsichord teacher at JOBA (Joven Orquesta Barroca de Andalucía). Since 2005 he teaches harpsichord and basso continuo at the Conservatorio Superior de Música “Manuel Castillo” in Seville.

alejandrocasal.es

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Born in Bilbao, Jorge Rentería studied horn, conducting and Early Music at the Royal Academy of Music in London. He has been a member of the symphony orchestras in Bilbao, Asturias, Castilla-Leon and Jerusalem. As a natural horn specialist, he has performed with leading period instrument groups such as the Orquesta Barroca de Sevilla, Orchestre Révolutionnaire et Romantique, Orchestra of the Age of Enlightenment, Academy of Ancient Music, Amsterdam Baroque

Orchestra, Les musiciens du Louvre, Les Talens Lyriques, Freiburger Barockorchester, Wiener Akademie, Concerto Copenhagen, Australian Chamber Orchestra and the Mahler Chamber Orchestra, among others.Since 2006, he teaches natural horn at the Basque Country Music College “Musikene” in San Sebastian. In 2016, he became an Associate of the Royal Academy of Music in London.

JORGE RENTERÍA natural horn

The Orquesta Barroca de Sevilla stands unquestionably among the top level of Spanish ensembles dedicated to the interpretation of early music with historicist criteria. It was founded in 1995 by Barry Sargent and Ventura Rico, and Pedro Gandía Martín has served as its artistic director since 2001.International figures that have led the orchestra, some of which are of mythical standing, include Gustav Leonhardt, Christophe Coin, Sigiswald Kuijken, Jordi Savall, Christophe Rousset, Rinaldo Alessandrini, Monica Huggett, Harry Christophers, Andreas Spering, Alfredo Bernardini, Diego Fasolis, Juanjo Mena, Eduardo López Banzo, Pablo Valetti, Fabio Bonizzoni, Enrico Onofri... In addition to its intense activity in Seville, with its regular season, and the rest of Andalusia, the orchestra performs at major Spanish (Auditorio Nacional, Teatro Real, Teatro Arriaga...) and European venues (in Germany, France, Italy, Switzerland...).In 2011, the orchestra won the

National Music Award from the Spanish Ministry of Culture. It also won the 2010 Manuel de Falla award from the Regional Government of Andalusia, the 2011 FestClásica award, and an Honorary Distinction from the Seville City Council. The OBS enjoys the support and collaboration of the Spanish Ministry of Culture, Regional Government of Andalusia, Seville City Council and University of Seville.

ORQUESTA BARROCA DE SEVILLA

orquestabarrocadesevilla.com

Recorded | December 2013 (tracks 1-4 & 13-15) and November 2015 (tracks 5-12) at Espacio Santa Clara, Instituto de la Cultura y las Artes de Sevillas (ICAS), Spainwww.espaciosantaclara.org

General director | Ventura RicoArtistic director | Pedro Gandía MartínProduction and administration | Patricia GonzálezArchivist and webmaster | Guillermo PeñalverAccountancy | Dolores González

Special thanks to | Seville, Málaga and Córdoba Cathedrals, Instituto de la Cultura y las Artes de Sevilla (ICAS)

Recording, editing and mastering | Jean-Daniel Noir Musicological study, musical transcriptions and CD notes | Juan María Suárez Martos, Guillermo Peñalver and José Manuel Villarreal Photos | Marta Morera (p. 1), Centro de Iniciativas Culturas de la Universidad de Sevilla (p. 4), José Manuel Villarreal (p. 9), Sabela García (p. 9), Luise O’Dwyer (p. 21), Christoph Fein (p. 23), Luis Castilla (p. 25), Nuria González (p. 28)Artwork | Lucia GhielmiEditorial supervision | Susanne LowienExecutive producer | Jan De Winne, Musurgia BVBAMade in the NetherlandsⓅ 2013 & 2015 Passacaille |© 2019 Passacaille | PAS 1048 www.passacaille.be