The Flemish school
The first two songs outline the counterpoint canons typical of the Flemish.
There is a linear polyphony with the organ in Merulo's song, which doubles
the melodic line of the bass.
Adrian Willaert (c. 1490 - 1562) - O Magnum Mysterium
click on to listen to the track O Magnum Mysterium
Claudio Merulo (1533 - 1604) - Adoramus Te
click on to listen to the track Adoramus Te
The Progressives
Instruments came on the scene, and they were used not only to double the vocal
parts.
The progressive movement tended to enhance the value of local culture.
Venice's splendour was transformed into instrumental and vocal grandeur,
first in calm tones and then, with Giovanni Gabrieli, it reached its compositional
fullness.
The cornets and trombones were the appropriate instruments for accompanying
and contrasting the "broken choirs" in the basilica .
Andrea Gabrieli (ca. 1510 - 1586 ?) - Magnificat
click on to listen to the track Magnificat
Baldassare Donato (c.1530 - 1603) - Hei, mihi! Domine
click on to listen to the track Hei, mihi! Domine
Gioseffo Guami (c.1540 - c.1612) - In die tribulationis
click on to listen to the track In die tribulationis
Giovanni Gabrieli (1556-1612) - Canzon in echo duodecimi toni a 10
click on to listen to the track Canzon in echo duodecimi toni a 10
Giovanni Gabrieli (1556-1612) - Canzon noni toni a 12
click on to listen to the track Canzon noni toni a 12
Giovanni Gabrieli (1556-1612) - Hodie Christus Natus Est
click on to listen to the track Hodie Christus Natus Est di Giovanni Gabrieli
Giovanni Gabrieli (1556-1612) - Sonata pian' e forte a 8
click on to listen to the track Sonata pian' e forte a 8
Giovanni Croce (c.1557 - 1609) - In spiritu humilitatis
click on to listen to the track In spiritu humilitatis
Instrumental and vocal confirmation
The choir often made room for a soloist. Counterpoint and harmonic tessitura
reached perfection.
In addition to the brass instruments, the string and plucked string instruments
increasingly took root.
The thorough bass was flourishing and instruments like theorbos, archlutes,
regals and harps appeared in sacred music.
Giovanni Bassano (1558 - 1617) - Hodie Christus natus est
click on to listen to the track Hodie Christus natus est di Giovanni Bassano
Francesco Cavalli (1602-1676) - Alma Redemptoris mater
click on to listen to the track Alma Redemptoris mater
The Eighteenth century
The eighteenth century Venetian opera style influences all the composers
of St. Mark's chapel.
Antonio Lotti (c.1667 - 1740) - Crucifixus
click on to listen to the track Crucifixus
Baldassare Galuppi (1706-1785) - Magnificat a 4
click on to listen to the track Magnificat a 4
Sound recording by GLORIAE DEI CANTORES, Orleans, Massachusetts, 1992 (www.gdaf.org).
All Rights Reserved
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