1 LP - 1C 063-30 112 - (p) 1973

1 CD - 8 26479 2 - (c) 2000
1 CD - CDM 7 63444 2 - (1991)

Venezianische Mehrchörigkeit





Salomone Rossi (1570?-1630?)


Tanzsätze zu fünf Stimmen (erschienen 1607/08)
6' 27"
- Vier Blockflöten, Fagott, zwei Pommen, zwei Posaunen, zwei Violinen, zwei Violen, Viola da gamba, Violone, Gitarre, Cembalo, Orgelpositiv




Orlando di Lasso (Roland de Lassus) (1532-1594)

I. Hor che la nuova e vaga primavera (erschienen 1575) - Madrigale zu 10 Stimmen in zwei Chören 2' 51"
- Chor I: kleiner Chor, vier Blockflöten, Fagott, Cembalo, Laute

- Chor II: großer Chor, zwei Violinen, zwei Violen, Viola da gamba, Violone, Orgelpositiv




Cesario Gussago (gest. 1611?)

Sonata "La Leona" (erschienen 1608) zu acht Stimmen in zwei Chören
3' 25"

- Chor I: Zink, drei Blockflöten, Fagott, Orgelpositiv

- Chor II: zwei Violinen, Viola, Viola da gamba, Violone, Gitarre, Cembalo




Giovanni Gabrieli (1557-1612)

Canzone (erschienen 1615) zu zwölf Stimmen in drei Chören 5' 07"
- Chor I: drei Blockflöten, Fagott, Gitarre

- Chor II: zwei Pommen, zwei Posaunen, Orgelpositiv

- Chor III: zwei Violinen, Viola, Viola da gamba, Violone, Cembalo




Giovanni Croce (Joanne a Cruce Clodiensis) (1557-1609)

II. Dialogo de Chori d'Angeli (erschienen 1586) - Geistliche Madrigale zu zehn Stimmen in zwei Chören 3' 16"
- Chor I: kleiner Chor, Gitarre, Cembalo, Fagott

- Chor II: großer Chor, Orgelpositiv, Viola da gamba, Violone




Claudio Bramieri (gest. vor 1595)

Canzone "La Foccara" (erschienen 1599) zu acht Stimmen in zwei Chören 4' 00"
- Chor I: drei Blockflöten, Fagott, Orgelpositiv

- Chor II: zwei Violinen, Viola, Viola da gamba, Violone, Gitarre




Orlando di Lasso (Roland de Lassus) (1532-1594)

III. Trionfo del Tempo (erschienen 1584) - Madrigal zu zehn Stimmen in zwei Chören 2' 17"
- Chor I: Solosopran, Blockflöte, Chor,Cembalo, Dulzian, Laute

- Chor II: Solosopran, Blockflöte, Chor, zwei Violinen, Viola, Viola da gamba, Violone, Orgelpositiv




Tiburtio Massaino (Massaini) (16.-17. Jahrhdt.)

Canzone Nr. XXXIV (erschienen 1608) zu acht Stimmen in zwei Chören 2' 46"
- Chor I: Zink, Violine, Viola, Viola da gamba, Laute

- Chor II: Cembalo, Orgelpositiv, Violone




Andrea Gabrieli (1520-1586)

IV. O passi sparsi (erschienen 1587) - Madrigal zu zwölf Stimmen in zwei Chören 5' 00"
- Chor I: Singstimmen, zwei Violinen, Viola da gamba, Cembalo

- Chor II: Zink, Baßblockflöte, Altblockflöte, Dulzian, zwei Posaunen, Violone, Orgelpositiv




Giovanni Battista Grillo (gest. 1622)

Canzone (erschienen 1608) zu acht Stimmen in zwei Chören 4' 59"
- Chor I: Tenorblockflöten, zwei Violinen, Viola da gamba, Gitarre, Cembalo

- Chor II: Dulzian, Viola, zwei Posaunen, Orgelpositiv




Giovanni Gabrieli (1557-1612)

V. Omnes Gentes ("Sacrae Symphoniae", erschienen 1597) - Motette zu sechzehn Stimmen in vier Chören 4' 47"
- Chor I: Singstimmen a capella

- Chor II: Singstimmen a capella

- Chor III: oberste Stimme gesunge, Pommer, zwei Posaunen, Dulzian

- Chor IV: drei Blockflöten, zwei Violinen, Viola und Viola da gamba

- Continuo: Laute, Cembalo, Orgelpositiv, Violone




 
TÖLZER KNABENCHOR / Gerhard Schmidt-Gaden, Einstudierung
LINDE-CONSORT / Hans-Martin Linde, Leitung
- Peter Jenne, Annegret Schaub, Conrad Steinmann, Verena Zacher, Blockflöte
- Walter Stiftner, Dulzian, Barockfagott
- Edward H. Tarr, Zink
- Alfred Sous, Helmut Schaarschmidt, Pommer
- Heinrich Huber, Friedrich Werhahn, Barockposaune
- Herbert Höver, Miguel de la Fuente, Barockvioline
- Christoph Day, Dorothea Jappe, Barockviola
- Michael Jappe, Viola da gamba
- Angelo Viale, Violone
- Konrad Ragossnig, Laute, Gitarre
- Rudolf Scheidegger, Cembalo
- Eduard Müller, Orgelpositiv
 






Luogo e data di registrazione
Bürgerbräu, München (Germania) - gennaio 1973

Registrazione: live / studio
studio

Producer / Engineer
Gerd Berg / Johann Nikolaus Matthes


Prima Edizione LP
EMI Electrola "Reflexe" - 1C 063-30 112 - (1 lp) - durata 45' 21" - (p) 1973 - Analogico

Prima Edizione CD
EMI "Classics" - CDM 7 634449 2 - (1 cd) - durata 45' 21" - (c) 1991 - ADD

Edition CD
EMI "Classics" - 8 26479 2 - (1 cd) - durata 45' 21" - (c) 2000 - ADD

Note
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A visitor to Venice in 1608, hearing polychoral music for the first time, felt he was “transported to the third heaven, like St. Paul.” At about the same date, the secretary of the Queen of France reported that “the church was filled with magnificent harmony at a concert of vocal and instrumental music given by the finest local musicians, mainly on six portable organs, also on the excellent main organ, on trumpets and bassoons, oboes, viols, violoni, lutes, cornets, recorders and flutes.” Many North Italian composers had abandoned the severe contrapuntal style in favour of a more homophonic and sonorous music. Gioseffo Zarlino, the distinguished director of music at San Marco from 1565 to 1590, felt constrained to refer the traditionalists (who were mainly to be found among the theoreticians) to the convincing results produced in practice. He points out the characteristics and virtues of the new style, and speaks of the grouping of two or more choirs: “Each choir is divided into four or more parts. First one choir will sing and then another, or they will alternate; and occasionally they all sing together, and this is highly effective."
The most striking feature of polychoral music is its sound, which as it were divides up the space and spans it at the same time. The changed dimensions of the Copernican universe, and the contrasting of infinity and human limitations by theologians and philosophers, had introduced new concepts of space. The opening-out of the visible and invisible world also found expression in the arts. Painters used perspective and its effect on the eye of the viewer. Architects brought the various parts of a large space into relationship with each other, and proportion and function played an essential role. And the composers produced an entirely new aural experience by positioning groups of players and singers at different points. Heinrich Besseler (in "Musik und Raum," 1928) describes the resultant sonority as "a reaching-out of word and sound across a vast and superhuman space."
It was the task of the director of music to produce a balance of sound between singers and players and an audible contrast between the various groups, and quite often itwas also up to him to divide up the score between different choirs. The composer always indicated that his work was to be split up amongst a certain number of choirs. But it was left entirely to the performers to decide how big each was to be and how the vocal and instrumental parts were to be assigned. The contrasting of large and small choirs or choirs of the same size, of soli and tutti, of voice and instruments either together or separately, of light and shade, loud and soft, near and far - all this produced a brilliant variety of sound. There was such a degree of freedom that, for example, “in the event of a lack of sopranos and a superfluity of tenors,” the latter could take over the part of the former (Giovanni Ghizzolo, 1619). The exchanging of parts was permitted, and each choir could be subdivided - providing there were enough partbooks to go round. Soloists - whether vocal or instrumental - could take over one part and the continuo instruments would play the others. In this recording much use is made of these and many other possibilities.
From 1565 on, instrumentalists were a permanent part of the choir of San Marco. The development of independent instrumental pieces did not at first mean that they were composed in a style appropriate to the particular instruments. Such works could be played at will “cum omnis generis instrumentis.” In this recording there are pieces played by families of instruments and others by mixed groups; solo instruments are set off one against the other; strings and wind are divided; keyboard instruments used as an independent choir. The fountainhead of polychoral music was Venice. Around the year 1600, numerous North Italian and foreign musicians were studying there. Heinrich Schütz, Hans Leo Hassler, Gregor Aichinger, Giovanni Battista Grillo and many others came “to visit and listen to that paragon of all perfect music and jewel of Italy, Giovanni Gabrieli” (Christoph Klemsee, 1613). Before that date, the personal friendship between Andrea Gabrieli and Orlando Lasso (22 years his junior) had been the cause of the Venetian polychoral style becoming known north of the Alps; and after the two composers had made a journey together and Lasso had paid several visits to Venice, the composer to the Munich court adopted the “Venetian manner" wholeheartedly.
Hans-Martin Linde
Translation by David Potter

EMI Electrola "Reflexe"