Program: #19-46 Air Date: Nov 04, 2019
For 45 years this superb ensemble has brought the world of early brass and winds alive; this week, the early Italian baroque.
I. Venise sur Garonne: Giovanni Gabrieli . Flora CD 3314.
The location of these instruments allowed these musiciens to compose pieces for several groups of voices which were still called 'choirs'. The part played by these 'choirs' became more important, and finally the composition of purely instrumental music resulted in the conception of magnificent 'Canzoni' whose style was progressively exported to the whole of 17th century Europe.
The programme 'Venise sur Garonne' (Venice on the Garonne river) gathers the most prominent pieces of work mostly devoted to cornetti and sackbuts and specially the 'Canzoni' requiring the largest number of instruments, up to 22 distinct voices distributed among 5 different choirs. This form of composition, highly appreciated during the baroque period, progressively disappeared with the emergence of the symphony orchestra.
Thanks to the magnificence of this Venetian repertoire, so representative of ancient brass instruments Les Sacqueboutiers naturally chose to pay tribute to the great polyphonist of this period, Giovanni Gabrieli.
- Symphoniae Sacrae (1587): Canzon duodecimi toni in eco à 1004:04
- Symphoniae Sacrae (1615): Canzon VIII à 803:41
- Symphoniae Sacrae (1597): Canzon duodecimi toni à 1005:33
- Symphoniae Sacrae (1615): Canzon III à 603:06
- Symphoniae Sacrae (1615): Sonata XVIII à 1406:59
- Symphoniae Sacrae (1597): Canzon noni toni à 1203:51
- Symphoniae Sacrae (1615): Canzon IV à 602:41
- Symphoniae Sacrae (1615): Canzon XVI à 1204:11
- Symphoniae Sacrae (1597): Sonata « piano & forte » à 804:37
- Symphoniae Sacrae (1615): Canzon XVII à 1203:33
- Symphoniae Sacrae (1615): Canzon prima à 502:39
- Symphoniae Sacrae (1597): Canzon septimi & octavi toni à 1203:12
- Symphoniae Sacrae (1615): Sonate XXI04:30
- Symphoniae Sacrae (1597): Canzon octavo toni à 1203:54
- Symphoniae Sacrae (1615): Canzon X à 804:10
- Raveri (1608): La Spiritata à 403:08
- Symphoniae Sacrae (1597): Canzon quarto toni à 1504:13
- Symphoniae Sacrae (1615): Canzon II à 603:53
- Symphoniae Sacrae (1615): Sonata XX à 2207:10
- Total Runtime01:19:05
II. Monteverdi: Il Combattimento di Tancredi & Clorinda. Flora CD 1709.
The meeting of the Sacqueboutiers of Toulouse with the warm expression of Adriana Fernandez, the fullness of their sonority, the natural lyricism justify the period appreciations "extolling the ability of the horn to imitate the voice. "
Everything seems to ensure the album a more than respectable place in the catalog, was the failure of the beach 2, laborious "tribute to clarinet solo Alexander Goehr, the son of the conductor Walter Goehr who was a enthusiastic monteverdien. A misstep that is fortunately forgotten by Carro di Fedelta d'Amore of the Venetian Paolo Quagliati, a carnival entertainment from the very beginning of the Seicento that concludes the recording in the allegorical style required. And the song remains unassailable, equal to what it was in the Combat where, besides Furio Zanasi, shone the ductile soprano of Adriana Fernandez and the fervent tenor of Juan Sancho, Clorinda and Tancredus striking with truth.
Monteverdi: Il Combattimento di Tancredi e Clorinda
Goehr: Paraphrase for solo clarinet on Monteverdi's 'Il Combattimento di Tancredi e Clorina'
- Les Sacqueboutiers
- Jean-François Verdier (clarinet)
Quagliati: Carro di fedelta d'amore
The sole complete copy of Giovanni Martino Cesare's Musicali Melodie, recorded here, is to be found in the Episcopal Library of Regensburg. Of the 28 numbers listed in the table of contents, 14 of these are Concerti Spirituali with one to five voices and basso continuo, along with 14 instrumental pieces of one to six parts with basso continuo.
In the 14 Concerti Spirituali, the mixture of voices and instruments produces an extraordinary variety of sonority which allows, while underlining the text, to strengthen the musical expression. The instrumentation are rich in multiple conbinations, in permutations of attractive tones.
The legacy that Venetian music bequeathed to musical world at the beginning of the 17th century resides primarily in the relation between instrumental composition and singing.
Les Sacqueboutiers decided to republish this recording dating 1996 because of the exceptional participation of great invited artists gathered around the "hard core"of the brass ensemble.
1. La Vittoria , 3'37
2. Beata es Virgo, 2'31
3. Jubilate Deo, 3'34
4. Salve Regina, 2'29
5. La Fenice, 3'02
6. La Bavara, 2'46
7. La Monachina, 2'25
8. Isti sunt duae olivae, 2'00
9. Sancta Maria, 2'18
10. Veni Sponsa Christi, 2'08
11. La Lioannina, 2'45
12. La Massimiliana, 2'21
13. La Augustana, 2'48
14. O Domine Jesu Christe, 2'16
15. Cantate Dominum, 2'26
16. Gabriel Angelus, 2'00
17. La Foccarina, 3'41
18. La Hieronyma, 1'57
19. La Giorgina, 3'28
20. O Domine Jesu Christe, 2'36
21. Domine Exaudi, 2'23
22. Laudate Pueri, 1'55
23. Assumpta est Maria, 2'09
24. La Gioia, 3'03
25. La Famosa, 1'56
26. La Constanza, 3'37
27. Eco, 2'46
28. Benedicam Dominum, 3'15
Giovanni Gabrieli, Monteverdi, Giovanni Martino Cesare
Flora CD 3314, Flora CD 1709, Flora CD 3615.