Secret History: Josquin & Victoria John Potter

• Jean Mouton (1459 - 1522):
• 1 Nesciens Mater 03:24
• Jacob Heringman (?):
• 2 Prelude I 00:25
• Tomas Luis de Victoria (1548 - 1611):
• 3 1. Kyrie 02:46
• Jacob Heringman:
• 4 Prelude II 00:36
• Tomas Luis de Victoria:
• 5 2. Gloria 05:56
• Jacob Heringman:
• 6 Prelude III 00:22
• Tomas Luis de Victoria:
• 7 3. Credo 10:24
• Jacob Heringman:
• 8 Prelude IV 00:26
• Tomas Luis de Victoria:
• 9 4a. Sanctus 01:52
• 10 4b. Benedictus 01:51
• Jacob Heringman:
• 11 Prelude V 00:27
• Tomas Luis de Victoria:
• 12 5. Agnus Dei 03:25
• Anonymous:
• 13 Inviolata (Chant) 01:19
• Josquin Desprez (1450 - 1521):
• 14 Inviolata 03:10
• 15 Absalon, Fili Mi 03:33
• Anonymous:
• 16 Obsecro Te (Chant) 00:37
• Josquin Desprez:
• 17 Obsecro Te 05:42
• 18 Salve Regina 06:40
• Anonymous:
• 19 Benedicta Es (Chant) 01:53
• Josquin Desprez:
• 20 Benedicta Es 06:07
• 21 Nymphes De Bois 04:29
• Tomas Luis de Victoria:
• 22 O Magnum Mysterium 03:07
• Total Runtime 01:08:31

Info zu Secret History: Josquin & Victoria

Tomas Luis de Victoria und Josquin Desprez waren weder Zeitgenossen, noch lebten sie in denselben Ländern. Auch kompositorisch schienen sie wenig gemein zu haben. Doch in ganz Europa entdeckten Musiker ihre Geistesverwandtschaft, unter Lautenisten kursierten die Abschriften ihrer Messen und Motetten. John Potter findet: "das heimliche Leben dieser Musik ­­– das ist in historischer Hinsicht ihr echtes Leben." In diesem für ihn typischen Projekt erkundet Potter – gemeinsam mit Trio Mediaeval-Sängerin Anna Maria Friman und drei herausragenden Vihuela-Spielern – "was mit der Musik nach ihrer Niederschrift passiert." Das Album, produziert von Manfred Eicher, wurde im Kloster St. Gerold in den österreichischen Bergen aufgezeichnet, wo Potter bereits zuvor Stücke für "Officium" und andere Alben – mit dem Hilliard Ensemble und mit dem Dowland Project – eingespielt hat.

John Potter, voice
Anna Maria Friman, voice
Ariel Abramovich, alto, tenor and bass vihuelas
Jacob Heringman, tenor and bass vihuelas
Lee Santana, alto and tenor vihuelas
Hille Perl, viola da gamba (on tracks 21, 22)

John Potter
Potter's multifarious musical collaborators include lutenists Ariel Abramovich and Jacob Heringman, the Dowland Project with John Surman and Milos Valent, the composer Ambrose Field and the Conductus Ensemble with fellow tenors Christopher O'Gorman and Rogers Covey-Crump. A writer and scholar as well as a singer, he has published four books on singing and is a former British Library Edison Fellow. He is Reader Emeritus in Music at the University of York, having left the university in 2010 to focus on his portfolio of freelance projects. His non-performing activities have included publishing articles and research papers, examining doctoral theses in Europe and the UK and coaching ensembles in Europe and the USA.

John's eclectic performing experience has ranged from first performances of works by Berio, Stockhausen, James Dillon, Arvo Pärt, Gavin Bryars and Michael Finnissy to backing vocals for Manfred Mann, Mike Oldfield and The Who (among others). Red Byrd, the group he founded with bass Richard Wistreich, recorded music as diverse as Monteverdi (both straight and with electric guitars), Leonin (3 albums for Hyperion) and John Paul Jones (for Factory Records). He was a major contributor to the Hilliard Ensemble's Officium project (for which he has five gold discs), and subsequently developed many of the ideas in The Dowland Project's four albums for ECM. He also produced the first three ECM albums by the Scandinavian Trio Mediaeval.

Current projects include an ensemble with Anna Maria Friman, Ariel Abramovich and Jacob Heringman devoted to new music for voices & lutes by Sting, Genesis keyboardist Tony Banks, Led Zeppelin bassist John Paul Jones, and early twentieth composers (as featured on the ECM album Amores Pasados). The Conductus ensemble has released three CDs on Hyperion and is exploring new 14 th century repertoires, and John’s solo song programmes with one and two lutes focus on the 2017 centenaries of Thomas Campion and Peter Pope in addition to his explorations of the further shores of the lute song repertoire.

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