Pierre Colin, Trésor oublié de la Renaissance La Note Brève & Simon Gallot

• Pierre Colin: Missa Estans assis:
• 1 Colin: Missa Estans assis: I. Kyrie 01:00
• 2 Colin: Missa Estans assis: II. Gloria 02:50
• 3 Colin: Missa Estans assis: III. Credo 05:14
• 4 Colin: Missa Estans assis: IV. Sanctus 03:15
• 5 Colin: Missa Estans assis: V. Agnus Dei 01:32
• Magnificat Septimi toni:
• 6 Colin: Magnificat Septimi toni: I. Magnificat, Et exsultavit 01:15
• 7 Colin: Magnificat Septimi toni: II. Quia respexit, Quia fecit 01:32
• 8 Colin: Magnificat Septimi toni: III. Et misericordia, Fecit potentiam 01:26
• 9 Colin: Magnificat Septimi toni: IV. Deposuit, Esurientes 01:27
• 10 Colin: Magnificat Septimi toni: V. Suscepit Israël, Sicut locutus est 01:34
• 11 Colin: Magnificat Septimi toni: VI. Gloria Patri, Sicut erat 01:25
• Motet:
• 12 Colin: Motet: Hic est vere martyr 02:22
• 13 Colin: Motet: Surge illuminare, Stella ista 04:15
• 14 Colin: Motet: Cives apostolorum 02:39
• 15 Colin: Motet: Alleluia pasca nostrum 02:24
• 16 Colin: Motet: L'œil dict assez s'il estoit entendu 02:14
• Missa Ave gloriosa:
• 17 Colin: Missa Ave gloriosa: I. Kyrie 02:04
• 18 Colin: Missa Ave gloriosa: II. Gloria 04:04
• 19 Colin: Missa Ave gloriosa: III. Credo 07:06
• 20 Colin: Missa Ave gloriosa: IV. Sanctus 04:34
• 21 Colin: Missa Ave gloriosa: V. Agnus Dei 03:10
• Total Runtime 57:22

Info zu Pierre Colin, Trésor oublié de la Renaissance

Pierre Colin, a great unknown. The archives of the Basilica of San Petronio in Bologna contain a large folio (Bol SP A 48) devoted to masses that were clearly used frequently in the cathedral. Composers are not credited, but a study of the source shows that there are more works by Pierre Colin than by any other composer; four of his masses were copied here for use in the cathedral during the third quarter of the 16th century. The same is true of the archives of the cathedrals of Treviso, Toledo and even Guatemala City, which possess manuscript copies taken from printed originals of the masses and motets of a composer who seems to have spent his entire musical career in the Burgundian city of Autun. Who is this composer? How does one account for such success? How did he fit into the musical world of his day? What is distinctive about his style? These are questions we will try to answer in order to shed light on some of the works presented here.

La Note Brève
Simon Gallot, bass, direction
Josquin Gest, countertenor
Jean-Noël Poggiali, tenor
Marie Remandet, mezzo-soprano
Laura Cartier, soprano
Ryoko Katayama, organ

La Note Brève
is an early music ensemble, made up of a close-knit group of singers and musicians specialising in this repertoire. Born in 2007 from a desire to promote the music of the Middle Ages and the Renaissance, La Note Brève rediscovers secular music in accordance with musicological research, working from period treatises, facsimiles and on ancient instruments.

Since its creation, La Note Brève has performed at the most important festivals in France and Europe. It has also been invited to play in prestigious venues such as the Hôtel de ville in Lyon and the Invalides in Paris. Since 2013, La Note Brève has been in residence at the Musée des Tissus et des Arts Décoratifs in Lyon, where it gives a concert every month.

Simon Gallot
explores vocal possibilities in various repertoires, from lyrical singing to traditional music. Musical director of La Note Brève, a specialist in medieval and renaissance music, he also sings under the direction of Gabriel Garrido or Guillaume Bourgogne. He is frequently invited to participate in the Ambronay Festival or the Musique en Scène Festival in Lyon, where he has had the opportunity to work with composers Alejandro Vinao and Kaija Saariaho. Simon Gallot is also a Doctor of Musicology (author of a thesis on Ligeti) and a research advisor for the University of Lyon 2. He was awarded the literary prize of the Muses 2011 (by the SACEM) for his book on the composer György Ligeti (published by Symétrie). Simon is also a hurdy-gurdy player.

Booklet für Pierre Colin, Trésor oublié de la Renaissance