Missa Pulcherrima
1. Kyrie, 4:34
2. Gloria, 6:02
3. Credo, 10:07
4. Sanctus, 2:59
5. Benedictus, 2:17
6. Agnus Dei, 4:06
TT: 30:10

I Missa Senza Le Cerimonie
7. Kyrie, 1:01
8. Gloria, 1:23
9. Credo, 2:44
10. Sanctus, Benedictus, 2:48
11. Agnus Dei, 2:18
TT: 10:20

II Missa Senza Le Cerimonie
12. Kyrie, 1:12
13. Gloria, 1:54
14. Credo, 3:57
15. Sanctus, 2:00
16. Benedictus, 1:36
17. Agnus Dei, 1:29
TT: 12:12

18. Magnum Nomen Domini, 1:36
19. Resonet In Laudibus, 1:32

Julian Gembalski – positive organ
Camerata Silesia
Anna Szostak – conductor

According to Johann Mattheson, Polish composer Bartlomiej Pekiel was born German, but his known career played itself out in Poland in its entirety. Earliest mention of Pekiel comes from 1633 when he enters the service of the Warsaw-based court of King Wladyslaw IV Vasa, as a sacred musician working with Marco Scacchi, a composer who supplied the King's court with opera and other kinds of secular music. Pekiel also took over the other duties when Scacchi returned to Italy owing to health concerns in 1649, but was not elevated to sole music director until 1653. Pekiel would not enjoy the position long, as in 1655 the Swedes swept Wladyslaw IV Vasa's successor, King John II Casimir, off the throne in the conflict now known as "The Deluge." Pekiel managed to land on his feet in Krakow, as in 1658 he was named to the post of kapellmeister at Wawel Cathedral. While direct evidence of his death has not been substantiated, Pekiel must have died around 1670, as his successor is named in cathedral records around that time.

Bartlomiej Pekiel was the foremost Polish composer of his day, and though his work belongs historically to the middle Baroque, stylistically it is a holdover from the Italian renaissance of the previous century. So technically assured is Pekiel within this style that a tour of study in Italy is likely, even though he is not known to have traveled there; perhaps it occurred before first mention of him is found in 1633, and it is also possible that Pekiel was a little older than his suggested birthdate of "ca. 1610" might convey. Whereas his Polish contemporaries are known by mere handfuls of pieces, Pekiel is represented to posterity through 14 settings of the mass, 17 motets, and about 42 instrumental pieces, though the authenticity of the latter has been a matter of debate. A scholarly edition of Pekiel's work was published in 1996 by Monumenta Musicae in Polonia, though certain works -- such as the Missa pulcherrima ad instar Praenestini -- have been available in modern editions going back into the 1930s. --- Uncle Dave Lewis, Rovi

Kompozytor i organista. Data i miejsce jego urodzenia, ani pochodzenie nie są znane, zmarł ok. 1670. Pierwsze wiadomości o Pękielu łączą się z jego działalnością na dworze króla Władysława IV w Warszawie, gdzie przebywał na pewno w latach 1637-54, a być może nawet od 1633. (Zmienna i zróżnicowana pisownia nazwiska, jaka występuje w manuskryptach utworów przechowywanych w zbiorach wawelskich - Pekel, Peckel, Pekell - skłania muzykologów do podejmowania rozważań na temat możliwości jego niemieckiego pochodzenia.) W kapeli królewskiej kierowanej przez Marco Scacchiego pełnił początkowo funkcję organisty, a następnie wicekapelmistrza, tworząc i wykonując muzykę religijną oraz zajmując się kształceniem młodych muzyków. Po wyjeździe Scacchiego z Polski w 1649 Pękiel objął funkcję kapelmistrza. Po zajęciu Warszawy przez Szwedów (1655), opuścił stolicę i następne 3 lata przypuszczalnie spędził na tułaczce wraz z dworem królowej.

Od 1658 do 1664 był kapelmistrzem kapeli katedralnej na Wawelu w Krakowie. Zmarł ok. 1670. Za życia Pękiela ukazał się w druku tylko jeden jego utwór - potrójny kanon 6-głosowy, wydany w Xenia Apollinea, dodatku nutowym do Cribrum musicum ad triticum Siferticum Marco Scacchiego (Wenecja 1643). Pozostałe utwory znalazły się w rękopiśmiennych kopiach, spisanych przez skryptorów obcego i polskiego pochodzenia (m.in. rorantystę ks. Macieja Arnulfa Miśkiewicza, który jedną z mszy Pękiela uznał za najpiękniejszą i nazwał ją Missa pulcherrima).

Dzieła wokalno-instrumentalne, przeznaczone na zróżnicowaną obsadę, odznaczają się znacznym bogactwem środków fakturalno-wykonawczych, mogły więc powstać w okresie działalności w Warszawie, choć nie jest wykluczone, że tworzyły repertuar kierowanej przez Pękiela wokalno-instrumentalnej kapeli katedralnej na Wawelu. Utwory wokalne natomiast, przeważnie o 4-głosowej obsadzie, charakterystyczne dla repertuaru Kapeli Rorantystów, przypuszczalnie skomponowane zostały w czasie działalności kompozytora na Wawelu i w środowisku wawelskim były wykonywane. ---Małgorzata Kosińska, culture.pl

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Missa a14
1. Kyrie
2. Gloria

3. Resonet in laudibus
4. Dulcis amor Jesu
5. Magnum nomen Domini
6. Audite mortales
7. O adoranda Trinitas
8. Nativitas tua

Missa Concertata La Lombardesca
9. Kyrie
10. Gloria

11. Assumpta est Maria

Missa Concertata La Lombardesca
12. Credo

13. Ave Maria

Missa Concertata La Lombardesca
14. Sanctus
15. Benedictus
16. Agnus Dei

The Sixteen
Eamonn Dougan – conductor

This is a distant excursion from home base for the British choir the Sixteen, for which familiarity of repertory is generally part of the plan. The music heard here, by composer Bartlomiej Pekiel (active 1633-1670), is little known outside Poland. Indeed, the Polish Baroque, which attracted plenty of Italian composers in its day, provides fertile ground for choirs looking to perform unknown masterpieces. The style of the music is in general what you would expect from a composer keeping close tabs on the latest music from Italy; Pekiel was the first native-born Polish composer to crack what had been a scene dominated by imports. There are several short motets in Renaissance stile antico, as well as masses in the newer concerted style, with solos and various contrasts of massed groups accompanied by a small continuo-based instrumental ensemble. Pekiel's realizations of these styles are unique. Most interesting is the torso of the Missa à 14, of which only the Kyrie and Gloria have survived. To hear the entire mass -- with no solo lines, only constantly shifting relationships among its 14 parts -- must have been a thrilling experience. In the other masses there are some striking dissonances. The motets are more conservative, but there is one unclassifiable piece, Audite morales, that somewhat resembles the Roman dialogue pieces, little quasi-dramas from which the oratorio emerged. The music is all in Latin. The Sixteen does not really specialize in the early Baroque, and the Missa à 14 might have worked better with a larger group, but the choir, conducted not by leader Harry Christophers but by associate conductor Eamonn Dougan, achieves its usual clarity and brightness, all to the good. The big picture: very few people, if any, have recorded this music, and Baroque enthusiasts will be glad to have the album. ---James Manheim, AllMusic Review

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Audite Mortales dialogue for 6 voices, 2 viola da gambas, double-bass & organ 	
1 	Audite mortales	1:12 	
2 	Heu me miserum	1:11 	
3 	Quid faciam mi Domin	1:14 	
4 	Plange ergo	1:05 	
5 	Quid hic statis mise	1:26 	
6 	O, vita ista misera	1:43 	
7 	Sed vos electi mei	1:18 	
8 	Quis similis tibi	0:57 	
9 	Quis accepit manum	1:05 	
10 	Tu es Domine	1:02 	
11 	O felix illa anima	1:38 	
12 	Dulce Amor Jesu, motet a cinq voix et basse continue	6:53 	
13 	Assumpta Est Maria, motet a quatre voix	3:02 	
14 	Sub Tuum Praesidium, motet a quatre voix	1:37 	

Missa Brevis for 4 voices 	
15 	Kyrie	2:04 	
16 	Gloria	5:09 	
17 	Credo	10:35 			
18 	Sanctus	1:41 	
19 	Benedictus	1:55 	
20 	Agnus Dei	3:39

Bornus Consort (Ensemble)

Bartłomiej Pękiel was the first non-Italian to rise to the position of royal maestro di cappella and he set the benchmark for all native Polish musicians. His works cover a wide variety of forms, ranging from polyphonic masses to dramatic motets and resplendent large-scale instrumental masses. In the pieces recorded here one can hear wide-ranging connections with a variety of eminent composers: the a cappella motets are in the polyphonic tradition of Palestrina, Dulcis amor Jesu bears the expressive hallmarks of Monteverdi, the Missa Brevis and Cavalli's Missa Concertata share exactly the same scoring, while the extraordinary Audite mortales is a sacred dialogue, very much in the style of those written by Carissimi. It is interesting to speculate on what publications were landing on Pękiel's desk, for he was clearly aware of new developments and assimilated them. He shows himself to be a skilled craftsman, mastering the techniques taught by the Italian maestri, but also imbuing his works with his own particular harmonic colour in all the varied styles in which he writes. --- handelsaul.blogspot.com/

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