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  • Deep Dives
    • 2024-2025 Concerts >
      • William Byrd: Angelical and Divine
      • Heinrich Schütz: The Orpheus of the 17th Century
      • George Frideric Handel: Messiah
      • Samuel Scheidt: The Art of Variation
      • Ludwig Senfl: A Gifted Imagination
      • Claudio Monteverdi: A New Manner of Composing
      • J.S. Bach: Bach Around Thirty
    • Donate today!
  • Tickets
    • Tickets
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  • Who we are and What we do
    • Board of Directors and Staff
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
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      • Adventures in Sightsinging
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
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Resonet in Laudibus by Bartłomiej Pękiel
Who? You may well ask. As I've mentioned before, one of the things that strikes me about early music is that the more I learn about it, the more there is to learn. It's like a series of caverns--you explore one and think you're familiar with its traits and beauties; but then you discover a passage leading to another amazing cave; and that leads to another, till you realize that there's effectively no limit: You could spend a lifetime spelunking and discovering and learning.

Frustrating sometimes! But also deep down it's reassuring to know that there will always be these surprises, these new-favorite-composers, these fresh discoveries and enthusiasms; and that complacency will never really have a chance.

Down with vain aspirations to comprehensive knowledge! Up with lifelong exploration and discovery! Onward ho!

In that spirit, allow me to introduce you to Bartłomiej Pękiel. He's one of these figures who weren't born--they flourished. That is to say, no one has a clue to his birth date, place, parentage or situation. He simply flourished, and then he died. Wikipedia gives his dates as 'fl. from c1633; d.c1670'; the New Grove, not willing to admit even the flourishing, gives simply d ?Kraków, c1670', but does supply a remarkable number of variations on the surname: 'Pękiel [Pechel, Peckel, Pekel, Pekell, Pekiel, Penckel]'.

In any case, presumably what's-his-name was actually born at some time somewhere, and must have had parents. Some years later (use your imagination) he entered the service of the Warsaw court, working as organist under Marco Scacchi (c1600-1662), an Italian import. Upon Scacchi's retirement, Pękiel became director of music. Around 1655 he moved to Krakow, where he eventually became director of music in the Wawel cathedral chapel.

For a composer about whose life so little is known, a large body of Pękiel's music survives, including at least 10 masses, many motets and a number of instrumental pieces. I came across him several months ago when I was putting together our 2021 Early Music Christmas, and wanted a fresh and energetic setting to use as the concert finale. In the course of a keyword search for arrangements of one of my favorite Christmas carols, 'Resonet in laudibus', today's motet, popped up. One listen and I was hooked.

It's not just the arrangement, actually, though it is really fine and creative, and the Alleluias at the end are priceless (especially the last one). It's also the performance, by an excellent vocal quintet directed by Andrzej Kozendiak. These people have been quietly performing and recording and generally bringing Pękiel's music to life, so that he can flourish (as so long ago) once again.

Materials are attached as usual.

I hope you enjoy this wonderful setting--
and keep your eyes peeled for those marvelous caverns just around the next bend.
Click here to download learning materials
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