Three from Tactus

Program: #17-45   Air Date: Oct 30, 2017

NOTE: All of the recordings on this program are part of the Italian label Tactus. For more information about their US availability:

https://www.naxos.com/labels/tactus-cd.htm

I. Camillo Cortellini—Le Messe (various ensembles). Tactus CD TC 560380.

The grandeur of the Italian Renaissance polyphonic school does not need an introduction, but this set focuses on the work of a very little known and performed composer from Bologna: Camillo Cortellini. The complete collection of his masses gives us a correct understanding of the historical reassessment of the Bologna music school (as compared to the celebrated Roman or Venetian schools). The “Messa Bolognese” by Cortellini (first to be composed in concert style) will in fact be an important link between the late Renaissance and the Baroque. The edition of this CD was made possible thanks to the participation of Bolognese choirs (Coro Euridice, Coro Eclectica, Coro of the Basilica of San Petronio, Bologna Chamber Choir) and other highly qualified Italian choirs (Coro Histonium di Vasto, Coro Super partes di Roseto degli Abruzzi, Coro Città di Roma and Vocalia Consort di Roma, Studium Canticum di Cagliari, Coro Polifonico S. Antonio Abate di Cordenons) that completed this huge work with great variety of organic performances.

Disc 1

Missa primi toni a 4vv

Missa secundi toni a 6v

Missa quinti toni a 8v

 

Disc 2
Missa primi toni a 8
Missa Salvatoris mundi a 8
Missa Beatae Virginis Mariae a 8v

Disc 3

 

Missa S. Caroli a 8v

 

Missa In Domino con do a 8v

Missa Exaudi me Domine a 8v

Missa Salvum me fac a 8v

 

II. Giovanni Battista Fasolo—Annuale Opera Ottava (Luca Scandali, o./Ensemble Bella Gerit). Tactus CD TC 590701.

 

Giovanni Battista Fasolo most probably composed its Annuale (organ music for the whole liturgical year) simultaneously to the famous “Fiori Musicali” by Girolamo Frescobaldi; the Annual, however, was delivered to printing only ten years later, in 1645, possibly for editorial reasons because it was the same Venetian printer - Alessandro Vincenti - specialized in keyboard music, to publish both collections. The goal pursued by Fasolo with his Annuale was to provide «tutto quello, che deve far un Organista, per risponder al Choro tutto l’Anno» (everything that an organist has to do, responding to the Choir throughout the year). More than an artistic stand-alone product, the collection was an example of the repertoire suitable to the liturgical service of the time: a compilation of models and forms, styles and modes of composition that had to be learned for finally being reused in the daily practice. Unlike Frescobaldi, Fasolo does not provide any toccata intro: a genre completely absent in the Annuale. On this album organist Luca Scandali is performing three complete masses at the historic Luca di Bernardino da Cortona (1547) organ accompanied in alternatim by the ensemble Bella Gerit.

 

Missa Beatae Mariae Virginis, for chorus & organ, Op. 8/22
Missa in duplicibus diebus, for chorus & organ, Op. 8/21
Missa in Dominicis diebus, for chorus & organ, Op. 8/20

 

III. Bonaventure Rubino—Messa de Morti (Cappella Musicale S. Maria in Campitelli/Studio di Musica Antica “Antonio il Verso”/Vincenzo di Betta). Tactus CD TC 601803

Bonaventura Rubino was one of the protagonists of the musical life of Palermo, where he was Kapellmeister in the Cathedral for more than twenty-five years. In Palermo, Rubino found a stimulating environment, to which he adjusted very easily, soon becoming one of its most admired and appreciated musicians. Bonaventura Rubino’s Missa de Morti (Requiem Mass) is presented here within the liturgical and musical context that is peculiar to this friar from Bergamo. In the Mass, the polyphonic sections for voices and basso continuo alternate with the liturgical monodies of the ancient Roman rite, in keeping with the melodic and textual codification of St. Pius V’s Missal and the Medicean Gradual. This seemed necessary to us not so much for abstract philological reasons as because we aim to make it possible for present-day listeners (who are mostly lacking in experience in this area) to enjoy this extraordinary seventeenth-century music within the setting of the complex “event” that originated it and for which it was conceived. The recording of this Mass was carried out in several points of the church, in order to give the listener the physical sensation of the various spots where the ceremony was taking place and the music was being performed.

 

1
Sinfonia grave a 5
Messa de morti a 5 concertata (Auszug)

2
Introitus: Requiem aeternam
3
Te decet hymnus
4
Introitus: Requiem aeternam
5
Kyrie
6
Deus indulgentiarium
7
Epistola: Lectio libri Machabeorum
Praeambulum tonus primus

8
Verso 6 - Verso 7
9
Tractus: Absolve Domine
Messa de morti a 5 concertata (Auszug)

10
Dies irae
11
Quantus tremor
12
Tuba mirum
13
Mors stupebit
14
Liber scriptus
15
Quid sum miser
16
Rex tremendae
17
Recordare
18
Quaerens me
19
Juste judex
20
Ingemisco
21
Qui Mariam
22
Preces me
23
Inter oves
24
Oro supplex
25
Lacrimosa
26
Sequentia sancti Evangelii sec. Joannem 6, 37-40
Messa de morti a 5 concertata (Auszug)

27
Offertorium: Domine Jesu Christe
28
Ricercare 9
29
Praefatio sine cantu da Ordo Missae pro defunctis
Messa de morti a 5 concertata (Auszug)

30
Sanctus
31
Elevazione: Toccata Ottava di durezze et ligature
32
Pater noster
Messa de morti a 5 concertata (Auszug)

33 Agnus Dei
34 Sinfonia 9
Messa de morti a 5 concertata (Auszug)

35 Communio: Lux aeterna
36 Requiem aeternam
37 Postcommunio: Praesta quaesumus
38 Ricercare 5
Messa de morti a 5 concertata (Auszug)

39 Responsorium: Libera me
40 Absolutio super tumulum
41 Sinfonia dalla Missa pro defunctis: Libera me
42 Toccata Nr. 2

 

 

 

Composer Info

Camillo Cortellini, Giovanni Battista Fasolo, Bonaventure Rubino

CD Info

CD TC 560380, CD TC 590701, CD TC 601803