La Tempête & Simon-Pierre Bestion - Bomba Flamenca (2026) [Hi-Res]

  • 21 Apr, 17:44
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Artist:
Title: Bomba Flamenca
Year Of Release: 2026
Label: Alpha Classics
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:23:14
Total Size: 389 MB / 1.44GB
WebSite:

Tracklist:

1. Anonymous: Taqsim (Prélude improvisé d'après un traditionnel d’Afrique du Nord) [Arr. for Ensemble by Simon-Pierre Bestion] (2:31)
2. Flecha, Janequin: La Guerre (Extract) - La Bomba (4:36)
3. Narvaez: Mille regres (3:16)
4. Morales: Missa Mille regretz: I. Kyrie eleison (5:11)
5. Anonymous: Nawa athar (D’après un traditionnel Arabo-andalou) [Arr. for Ensemble by Michèle Claude and Simon-Pierre Bestion] (3:27)
6. Gombert: Musae Jovis (5:28)
7. Paris: Congaudeant catholici (Extract) [Arr. for Ensemble by Simon-Pierre Bestion] (4:38)
8. Encina: Una sanosa porfia (5:25)
9. Anonymous: Ad mortem festinamus (D’après le Llibre Vermell de Montserrat) (2:30)
10. Crecquillon: Lamentationes hieremiae prophetae: Mem (6:08)
11. Anonymous: Irme kero madre a Yerushalayim (D’après un traditionnel séfarade) [Arr. for Ensemble by Michèle Claude and Simon-Pierre Bestion] (5:16)
12. Anonymous: Vidi sub ara Dei (Chant mozarabe issu du Cantorales Mozarabes de Cisneros) (2:51)
13. Escobar: Missa pro defunctis: Sanctus - Benedictus (5:31)
14. Orto: Lamentationes hieremiae prophetae: Gimel (5:47)
15. Escobar: Missa pro defunctis: Agnus Dei (4:12)
16. Cabezón: Magnificat (D’après le Fabordon y glosas del primer tono) [Arr. for Ensemble by Simon-Pierre Bestion] (4:33)
17. Flecha: El fuego (7:27)
18. Morales: Parce mihi, Domine (Arr. for Ensemble by Simon-Pierre Bestion) (4:33)

Simon-Pierre Bestion immerses us in the world of Charles V and a Spain marked by Arab-Andalusian culture. From 1515 onwards, Spain also welcomed musicians and singers from Flanders: this Capilla flamenca had an explosive effect on Spanish music during the Renaissance, according to Bestion.

He has composed an imaginary Requiem for the death of Charles V, using compositions actually intended for this service, such as Pedro de Escobar's Missa pro defunctis and Cristobal de Morales' Missa Mille regretz, based on the emperor's favourite song. As usual, the founding conductor of La Tempête takes a few liberties and breathes life into these works by arranging them with variations in timbre, tempo and expression: ‘I chose to make extensive use of percussion and certain very distinctive instruments such as the shawm and sackbuts, which perfectly match the spirit of outdoor processions, such as those in the gardens of the Alhambra.’