Alessandro GRANDI (1586 - 1630)
Deus in adjutorium (1629) [0.58]; O quam suave est (1613) [3.11]; Dixit Dominus
(1629) [6.59]; O quam tu pulchra est (1610) [3.20]; Laudate pueri (1629) [2.21];
Vulnerasti cor meum (1621) [3.59]; Laetatus sum (1629) [3.05]; Laetamini vos,
o caelo (1619) [3.19]; Nisi Dominus (1630) [5.58]; O quam tu pulchra est (1625)
[3.39]; Lauda Jerusalem, Dominum (1630) [5.09]; Ave Maris Stella (1629) [4.35];
O speciosa inter filia Jerusalem (1619) [4.16]; Magnificat (1629) [6.54]
Deborah York (soprano); Daniel Taylor (alto); Ed Lyon (tenor); Peter Harvey
(bass)
Gachinger-Kantorei Stuttgart
Bach-Collegium Stuttgart/Matthew Halls
rec. live, Markuskirche Stuttgart, 12 September 2010
CARUS 83.367 [57.50]
Alessandro Grandi was a lesser known contemporary of Monteverdi and his sacred
music comes from the same world. He initially worked in Ferrara which is presumed
to be his home town. Following a short period as part of the choir at St.
Mark's in Venice he returned to Ferrara, first as music director of the Accademia
dello Spirito Santo then as maestro di capella at the Cathedral. He then moved
back to St. Mark's in Venice, as a singer and then as Monteverdi's deputy.
His final appointment was as director of music at the Basilica Santa Maria
Maggiore in Bergamo. He died of the plague in 1630.
He started publishing motets when he was still in Ferrara, but these were
mainly solo motets with at most obbligato instruments. Only when he reached
Bergamo did he have the resources to be able to compose and perform large-scale
sacred music, especially for the Marian feast days which were a feature of
religious life at the Basilica.
Grandi's music was not ground-breaking, though his motets con sinfonie,
sacred concertos in fact, were something new and influenced Schutz. The music
performed on this disc was not created as a single coherent work by Grandi,
only Monteverdi seems to have had the luxury of being able to do that with
his Vespers. Instead the group perform a set of Vespers movements assembled
by the conductor Rudolf Ewerhart from amongst all of the pieces written by
Grandi throughout his career from his first published book in 1610 to the
final year of his life.
So we should not expect stylistic unity and Grandi's music was written often
for practical purposes, rather than to impress potential employers. Many of
the pieces lack the sheer bravura of Monteverdi, but Grandi is notable for
his sympathy with the text and capable of some subtlety. Quite a few movements
use brilliant musical illustrations of the texts which add charming felicities
to some of the plainer movements.
The music varies between the large-scale psalm settings and the smaller solo
motet movements. The bigger piece demonstrate that Grandi was certainly adept
at writing for larger scale forces. Dixit Dominus mixes chorus virtuoso
writing for solo instruments. Laudate pueri and Laetatus sum
are both written for double choir, but admittedly rather influenced by previous
generations - such as Gabrieli. The CD booklet suggests that Grandi's use
of doubling of the ripieno choir and semi-choir parts, plus his writing for
trombones, was through a desire to create a compact sound suitable for the
Basilica in Bergamo. In the elaborate Magnificat he alternates elaborate
sections for solo voices with big choral statements, along with virtuoso instrumental
writing. One of his last works and one of his finest.
According to the CD booklet the recording was made live though you could hardly
tell, there is no audience noise and the performance shows few real blemishes.
Choral and instrumental forces from Stuttgart, the Gachinger Kantorei Stuttgart
and the Bach-Collegium Stuttgart, are joined by English-speaking soloists
and Matthew Halls, director of the Retrospect Ensemble, conducts, with soloists
Deborah York, Daniel Taylor, Ed Lyon and Peter Harvey.
York has a voice familiar in this period of music, she brings her customary
intelligence and a fine way with the detail of Grandi's music. There were
odd moments when I felt that the extruded feel of her vocal production was
a little much, but mostly she simply delights. She and tenor Ed Lyon seem
to get the lion’s share of the vocal solos. Lyon impresses immensely,
both for his way with the bravura writing and for his coping with some challenging
stratospheric writing. That said, there is a moment towards the end when he
sounds as if he might be tiring. But I loved the way he brings great character
and vividness to the music without ever losing any of the detail.
Alto Daniel Taylor is something of a chameleon, blending nicely with Deborah
York but also evincing high-tenor like tones with Ed Lyon. Peter Harvey provides
strong support and is nicely vivid when Grandi gives him his moments.
The Gachinger Kantorei and the Bach-Collegium Stuttgart are a strong partnership
and they do not disappoint here. The choir is on strong form and in the bigger
movements, provides good firm tones and crisp definition. They are well supported
by the instrumental ensemble whose performers provide some fine solo moments.
All is directly deftly by Halls.
Not all of Grandi's music here is on the same level and there is the odd routine
moment. But the performers all perform with conviction and they certainly
persuade and convince.
The CD booklet includes an informative article about Grandi and his music
plus the full texts and translations.
This disc charmed me far more than I could have imagined. At first listen,
you could think Grandi simply a poor relation to Monteverdi but pay closer
attention and there are delights.
Robert Hugill
This disc charmed me far more than I could have imagined.