Andrea GABRIELI (1533-1585)
Messa bassa a San Marco
Maria Magdalenae a 7 [3:17]
Maria stabat ad monumentum a 6 [3:26]
Angelus Domini descendit a 7 [2:57]
Hodie Christus natus est a 7 [2:44]
Angelus ad pastores ait a 7 [2:25]
Eructavit cor meum a 6 [3:33]
Isti sunt triumphatores a 6 [2:21]
Beatus vir qui non abiit a 6 [2:19]
Iniquos odio habui a 6 [2:59]
Domine Deus meus a 7 [3:32]
Emendemus in melius a 6 [2:57]
Iudica me Deus a 7 [2:55]
Santa Maria succurre miseris a 6 [2:46]
O gloriosa Domina a 6 [2:55]
Missa Vexilla Regis a 6 [29:32]
I Cantori di San Marco (Alice Borciani, Elena Modena (soprano), Julio Fioravante
(alto), Marco Mustaro, Dino Lüthy (tenor), Yiannis Vassilakis, Marcin Wyszkowski
(bass))/Marco Gemmani
rec. October 2012, Velut Luna Recording Studio, Preganziol, Traviso, Italy.
DDD
Texts without translations downloadable from the Tactus site
TACTUS TC530701 [70:23]
For some centuries Venice was one of the major music centres
of Italy and even of Europe. Many aristocrats visited the city as part of
their grand tour to witness its splendour and to listen to how this
was expressed in music. Young musicians travelled to Venice to study, especially
with Giovanni Gabrieli, the organist of San Marco. From 1585 until his death
it was also his duty to compose its ceremonial music. Before that this had
been the task of his uncle Andrea who is the subject of this disc.
The music written and performed in Venice in the decades around 1600 didn't
only exert great attraction for contemporary musicians and music-lovers but
also for performers and audiences of our own time. That is true especially
of the large-scale vocal music, reflecting the practice of cori spezzati.
This was highly influential in its time: music for two or more choirs was
composed in other parts of Europe, in many cases under the direct influence
of what was written in Venice, by the Gabrielis and earlier by Adrian Willaert,
strictly speaking the founder of the polychoral style. Examples include the
polychoral works of north German composer Michael Praetorius. In 1619 Heinrich
Schütz published his Psalmen Davids, which he composed under the
influence of what he had heard in Venice where he studied with Giovanni Gabrieli.
In fact, polychoral music was only performed at special occasions. In the
day-to-day liturgical practice music of more modest proportions was used.
This part of the repertoire has been more or less neglected as it is overshadowed
by the polychoral works. That is certainly the case with the motets which
can be heard on the present disc. In his liner-notes Marco Gemmani, since
2000 maestro di cappella of San Marco, states that the Doge not only
attended splendid liturgical celebrations but also, on a more regular basis,
a low mass (the Messa bassa of this disc's title)
in a side chapel, where the performing forces were much more modest. "The
ceremonial, however, ruled that the choir was to sing in any case, whenever
the Doge was present in the Basilica. Many clues that are scattered in the
Liber Ceremoniale lead us to conclude that in these morning Masses
the music was performed by a small group of singers, often without the accompaniment
of the organ. So it is quite likely that on these occasions an a cappella
Mass, for instance one of the four six-part Masses published by Andrea Gabrieli
in 1572, or some of his six- or seven-part motets drawn from his Concerti
of 1587, were performed."
It is telling that David Bryant, in his article on Andrea Gabrieli in New
Grove, in the paragraph on his sacred works exclusively focuses on the
polychoral and ceremonial works and ignores the smaller-scale motets - the
kind of pieces performed on this disc. That is a shame because this recording
proves that they are very good and have much to offer. The programme opens
with three motets for Easter, and these are quite different. It is striking
how well Gabrieli has translated the text into music. Maria Magdalenae
recounts how the women go to the sepulchre where Jesus has been laid and meet
an angel who tells them that he has risen from the dead. The dramatic character
of this meeting is vividly exposed. Maria stabat ad monumentum is
much more static, reflecting the text which is about Mary standing at the
sepulchre and weeping. The angels ask her why she is weeping. Angelus
domini descendit again has a more dramatic character: "An angel
of the Lord came down from heaven, and rolled back the stone, and sat upon
it." The opening line includes a descending figure, the rolling back
of the stone is illustrated by several voices entering one after the other
which creates a great amount of dynamism. "And sat upon it" is set
homophonically.
Eructavit cor meum is the setting of the first verses of Psalm 45:
" My heart is inditing a good matter: I speake of the things which I
have made, touching the King: my tongue is the penne of a ready writer."
(King James version). Here the Vulgata has "velociter" (swiftly)
and that is vividly depicted in Gabrieli's setting. O gloriosa
Domina is a setting of the second half of the hymn Quem terra, pontus,
aethera, written by Venantius Fortunatus (530-609), the Bishop of Poitiers.
It is in four stanzas, and in the second the contrasts between the first and
the second and between the third and fourth lines are clearly exposed. These
are just a few examples of the way Andrea Gabrieli treated a text. Heinrich
Schütz paid a tribute to the master as late as 1648 when he published his
Geistliche Chor-Music. The motet Der Engel sprach is a re-working
of Gabrieli's motet Angelus ad pastores ait (track 5).
As one can see in the header the motets and the mass are performed with one
voice per part, without any instrumental support. That is, as Marco Gemmani
explained, the most likely option. It is probably not the only option: in
the Agnus Dei from the Missa Vexilla regis the number of voices is
extended from six to seven. That was quite common in the 16th century, but
I wonder whether we should believe that one singer was doing nothing until
the last section of the mass. Is it conceivable that the tenor part could
have been sung by two singers who then split in the Agnus Dei? The middle
voices always tend to be overshadowed by the sopranos and the basses. I am
also a bit surprised that the intonations of the Gloria and the Credo are
omitted.
The performance of renaissance polyphony is still largely dominated by British
vocal ensembles. If you have their sound in mind and especially if you consider
their interpretations as the ideal, you will need some time to get used to
what you will hear from this disc. Homogeneity of sound and a perfect blending
of the voices seems not to be the main concern of the singers and their director.
All the voices have a character of their own and that comes clearly to the
fore in the way Gabrieli's mass and motets are sung here. Unfortunately
it means that there is some vibrato in the lower voices. However, it is not
that strong and not too obtrusive. It didn't spoil my enjoyment of
these performances which are quite colourful and very expressive. The text
is given much attention and the passages where the text is eloquently translated
into music - in particular those which are taken from the Gospels - receive
incisive interpretations.
The booklet omits the lyrics; these can be downloaded from the Tactus
site, but come without English translations. However, in many cases these
can be found on the internet.
This disc is of major importance as it sheds light on deserving music which
is not well known.
Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen
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