Renaissance monarchies constantly sought to legitimise and demonstrate their extensive earthly and spiritual power. The art policies of the Modern Age are extremely complex, with well-defined discourses of image that sought to reinforce the estamental structure and the absolute dominance of the monarchs. One of the most effective signs of power was the appreciation and possession of art. Thus, the Habsburgs not only built up an unprecedented collection of sculpture and painting and constructed beautiful buildings, but they were also concerned to have a group of musicians on a par with the most select European courts.
Thus arose the Flemish Chapel, the court chapel of the Habsburgs. Its origins date back to the end of the 15th century, and it continued its existence well into the 18th century. It was one of its central institutions, reflecting a royal power that at that time was the leader of the entire known world.
Philip II was a great patron of music, and during his reign Spain experienced one of the best musical moments in its history. He inherited from his father the Flemish Chapel of Burgundy and the Choral Chapel of Castile, created by Isabella the Catholic, as well as the Portuguese chapel of his mother, Isabella of Portugal. Following her policy of ‘One monarch, one empire and one sword’, they were all merged into the Spanish Royal Chapel, which was based in the Real Alcázar in Madrid. Despite this unification, its composition would continue to be eminently Flemish.
Great Renaissance composers from the Low Countries, such as Manchicourt, Payen, Rogier and George de la Hèle were brought to Castile to put their art at the direct service of the monarchy. The music created in this institution would give life to the essential liturgies and rituals, essential components of this period, where ceremonial was a sign of identity and domination.
At the beginning, it had more than fifty choristers, a number that was to be considerably increased over time. The works were written specifically for this large ensemble, in keeping with the pomp and pageantry that characterised the colossal Habsburg celebrations. In the power race with other courts, the Chapel could not lag behind in grandeur.
Despite the great importance of this group of artists and composers at the time, and their subsequent transcendence and influence, their music is not a regular feature of the programme. Incredibly, an institution that stood as a guiding light at this historic moment is now forgotten.
That is why El León de Oro has undertaken the recording of a CD dedicated to these compositions, thus putting them in the place they deserve. It is necessary to clean the dust off these scores so that they can once again illuminate all kinds of architectures with their sonority. The CD and this concert should not be an isolated initiative, but a starting point to bring to the stage one of the most brilliant fragments of our history.
Ángel Gavela
