[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"product-officium-defunctorum-capilla-de-santa-ana-audio-cd-arrives-in-50-days":3,"pdp-similar-431558":100},{"id":4,"name":5,"slug":6,"permalink":7,"status":8,"description":9,"short_description":10,"date":11,"date_created":11,"price":12,"regular_price":12,"sale_price":13,"on_sale":14,"stock_status":15,"in_stock":16,"stock_quantity":13,"sku":17,"weight":18,"image":19,"images":20,"gallery":34,"categories":35,"tags":48,"attributes":49,"youtube_url":13,"video_hero":14,"mion_has_obi":14,"mion_has_insert":14,"mion_has_inner_sleeve":14,"mion_condition_notes":13,"japmaster":14,"japmaster_handle":13,"japmaster_from_inr":13,"japmaster_offer_cnt":13,"japmaster_discogs_id":13,"japmaster_offers":99},431558,"Officium Defunctorum - Capilla De Santa Ana - Audio CD (Arrives in 50 days)","officium-defunctorum-capilla-de-santa-ana-audio-cd-arrives-in-50-days","https:\u002F\u002Fcalcuttarecords.com\u002Fshop\u002Fofficium-defunctorum-capilla-de-santa-ana-audio-cd-arrives-in-50-days","publish","\u003Cp>At the centre of this album lies one of the most impressive\ndiscoveries from the music archive of the Catedral de Canarias: the\nOfficium Defunctorum by Diego Durón de Ortega, composed in\n1705. Everything suggests that this double-choir Requiem was\nwritten for the solemn funeral of Bishop Bernardo de Vicuña y\nZuazo, who died on 31 January 1705 in Tenerife – a victim of the\ndevastating earthquakes and volcanic eruptions that shook the\nisland in those years. The work thus forms part of the great Spanish\ntradition of requiems for high-ranking church dignitaries and, at the\nsame time, represents one of the earliest manifestations of the\npolyphonic funeral repertoire in the context of the Canary Islands.\nDiego Durón de Ortega (c. 1653–1731) is one of the most influential\nfigures of the Spanish Baroque. For more than fiftyfive years, he\nserved as Kapellmeister of the music ensemble at the Catedral de\nCanarias in Las Palmas de Gran Canaria – an extraordinary tenure\nduring which he had a lasting influence on the musical culture of\nthe islands. Despite numerous offers from cathedrals on the\nmainland, he remained loyal to the Canary Islands. His surviving\noeuvre comprises some 450 works: masses, motets, psalms,\nlamentations and more than 400 villancicos. His style combines the\npolyphonic rigour of the Siglo de Oro with the new expressive\ntrends of the Italianinfluenced Baroque, and at times even shows\nechoes of the folklore of the Canary Islands. In addition to the\nOfficium Defunctorum, this album also features Durón’s four-part\nmotet Sciens Jesus, which exemplifies the textual drama and\nmelodic expressiveness of his work. The programme is\ncomplemented by works by three further composers who shed light\non the musical milieu surrounding Durón: his brother Sebastián\nDurón (1660–1716), Kapellmeister of the Royal Chapel in Madrid, is\nrepresented by the Versos to Benigne fac Domine – a work that\nshowcases his refined personal style, marked by Italian influences.\nNicolás Tabares de Olivera, Kapellmeister of Cuenca Cathedral,\ncontributes a fourpart instrumental work, Cum quatuor vocibus for\nMinistriles, which combines 16th-century polyphonic techniques\nwith the multi-choir innovations of the 17th century. The\nprogramme concludes with Joan Baptista Cabanilles (1644–1712)\nand his Tiento sobre el ‘In exitu Israel’ – a work by perhaps the most\nsignificant representative of the Iberian organ tradition, whose\ncontrapuntal density and formal freedom brought keyboard music\non the Iberian Peninsula to its zenith. Together, these works paint a\nvivid picture of Spanish sacred music around 1700 – between the\npolyphonic tradition and the dawn of the Baroque, between the\nmainland and the vast Atlantic.\u003C\u002Fp>\n\u003Cp>\u003Csmall>Label: Neos | Origin: Holland\u003C\u002Fsmall>\u003C\u002Fp>","Officium Defunctorum by Capilla De Santa Ana. 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