Capuana & Rubino Requiem Chœur de Chambre de Namur & Leonardo García Alarcón

• Mario Capuana (? - 1646/47)
• 1 Introitus 03:55
• 2 Kyrie 02:51
• 3 Graduale 01:52
• 4 Sequentia 12:02
• 5 Offertorium 02:35
• 6 Sanctus 00:57
• 7 Agnus Dei 02:29
• 8 Communio 01:28
• Bonaventura Rubino (1600 - 1668)
• 9 Introitus 03:48
• 10 Kyrie 02:10
• 11 Sequentia 11:34
• 12 Offertorium 04:41
• 13 Sanctus 02:07
• 14 Agnus Dei 02:25
• 15 Communio 02:44
• 16 Responsorium 05:27
• Total Runtime 01:03:05

Info for Capuana & Rubino Requiem

Dated respectively 1650 and 1653, the Requiem Masses by Capuana and Rubino are apparently the only two settings of the Requiem to have been composed in Sicily during the Baroque period. Capuana’s work is imbued with the intense emotion of the madrigal school whilst the second is a true apotheosis of Renaissance polyphony.

Chœur de Chambre de Namur
Giulia Genini, bassoon
Maximilian Ehrhardt, harp
Pierre-Louis Retat, positive organ
Leonardo García Alarcón, conductor


Recorded in June 2014, Stavelot, church Saint-Sébastien, France
Artistic direction, recording & editing by Jérôme Lejeune

Chœur de Chambre de Namur
Since its formation in 1987, the Chœur de Chambre de Namur (Namur Chamber Choir) has championed both the major works of the repertoire and the musical heritage of its native region. The choir is invited to the leading European festivals, and has worked under the direction of such prestigious conductors as Marc Minkowski, Jean-Claude Malgoire, Peter Phillips, Sigiswald Kuijken, Philippe Herreweghe, Jordi Savall, Guy Van Waas, and Christophe Rousset. It has made some fifty recordings which have been much admired by the critics, winning nominations at the Victoires de la Musique Classique and awards including the Choc du Monde de la Musique and Classica, the Diapason d’Or, and the Cecilia Prize. The Chœur de Chambre de Namur has also received the Grand Prix de l’Académie Charles Cros and the Prix Liliane Bettencourt, and has been awarded the Octave de la Musique three times. Leonardo García Alarcón was appointed artistic director of the Chœur de Chambre de Namur in January 2010.

Leonardo García Alarcón
Following piano studies in Argentina, Leonardo García Alarcón moved to Europe in 1997 and consolidated his studies at the Geneva Conservatoire with harpsichordist Christiane Jaccottet, also completing his theoretical training at the Geneva Centre for Early Music. A member of the Elyma Ensemble, he became assistant to Gabriel Garrido before founding his own ensemble, the Cappella Mediterranea, in 2005.

He has devoted himself to conducting works which he wishes to bring once again to attention, such as Guiseppe Zamponi’s opera Ulysse – a performance of which he directed in 2006 – and Michelangelo Falvetti’s Il Diluvio Universale, performed in 2010.

In 2010, Leonardo García Alarcón began a three-year residency at the Ambronay Cultural Encounter Centre. He is also artistic director and principal conductor of the Namur Chamber Choir.

Leonardo García Alarcón is today invited to conduct or play in operas, festivals and concert halls across the world, including the Festival of Aix en Provence, Lyon Opera, Ambronay Festival, Vienna Konzerthaus, Teatro Colón in Buenos Aires, Grand Theatre in Geneva, Theatre Zarzuela in Madrid, Amsterdam Concertgebouw, Montecarlo Opera, Theatre des Champs Elysées in Paris, Wigmore Hall in London, Fondation Gulbenkian in Lisbon, the Festival de la Chaise-Dieu and the Teatro Maximo in Palermo.

His discography, with both his ensemble Cappella Mediterranea and the Namur Chamber Choir, has received widespread critical acclaim.

His desire to communicate extends to the training of young musicians. At the Geneva Conservatoire he teaches the ‘Maestro al Cembalo’ class as well as baroque song. He also collaborates with organisations promoting professional insertion, such as the Academies of Ambronay and Aix en Provence.

Passionate about the voice and a keen musicological researcher, Leonardo García Alarcón continues to explore the aesthetic ideals of Latin baroque music, encouraging them to inform those of the north. The south-north/north-south journey, with its diversity of languages and tastes, has become a creative driving force for him and is his ideal sphere of work.

Booklet for Capuana & Rubino Requiem