Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Producer / Engineer		-
	Edizione LP		Erato - STE 50 274 - (1 lp) - durata --' --" - (p) 196? - Analogico
	Note		Notes from Musical Heritage Society (MHS 860)

The Basilica of San Marco at Venice was erected on the site of an old church of the 9th century. It was founded in 1063 and consacrated in 1094. San Marco did become the cathedral of Venice until 1807, but it was considered at all times the natural setting of the juvish ceremonials of "La Serenissima" and enjoyed the benefits throughhout the centuries of the protection and generosity of the doges and patrician rolets of Venice. One of the most important elements of the artistic history of the illustrious Basilica was the musical activity which reigned there for three centuries, starting with the 15th, and is represented by the choirmasters and the most eminent organists of the Renaissance and Baroque periods. Among the choirmasters were Adrian Willaert, Cipriano de Rore, Gioseffo Zarlino, Claudio Monteverdi, Francesco Cavalli, Giovanni Legrenzi, Antonio Lotti and Baldassare Galuppi. Among the organists, in addition to some of the above before their promotion, were: Claudio Merulo, Andrea and Giovanni Gabrieli, Annibale Padovano and Pietro Andrea Ziani. It is the presence in San Marco of two apposing galleries, one on each sede of the choir, each housing an organ, which favored the evolution of the double-choir style arising from the tradition of antiphonal liturgical chant. Inspired by the color and the architectural grandeur, the musical seed was firmly planted in the Venetian cultural soil. Little by little, instruments became more numerous en support the voices and to differentiate between two entities of equal importance and like character gave way to a more lively style of contrasting timbres and volumes. The number of voices increased, from 12 to 16 to 20 and more; the choirs multiplied. Composers wrote for four, five and more choirs. This record, dedicated to the musical splendor of the Basilica of San Marco, brings together some of the most significant moments to the artistic life of Venice. In such un endeavor, there is initially a very ticklish problem to resolve: that of reproducing music wich remain true to the spirit and intentions of the composers. To begin with, it was imposible to recreate the original acoustical conditions of San Marco as they existed to inspire yhe Venetian musical style. The part of organs originally facing each other in the two galleries have disappeared. Today there i so church in Venice possessing such a pair of organs. Those which formerly existed have been either partially or totally destroyed. It was however, possible to find a setting where accoustical conditions of the period still exist, where stereophony is naturally integrated into the architecture of the building need not be artificially recreated. this is the Basilica of San Petronio at Bologna where the two venerable organs face each other, as those of San Marco once did, from the two opposing galleries. The one on the right, or south side, was constructed by lorenzo da Prato from 1471 to 1473. The one on the left, north side, was built in 1596 by Baldassare Malamini. One finds in this interior a natural source of variety both in the timbres and richness of tone color that offers an ideal atmosphere, as well as an incomparable setting for the rendering of music of the past. Another problem, no less delicate, is the choice of instruments and their number. We know how sparse the instructions inscribed on the original manuscripts of the period are. To reconstitute the instrumental ensembles, one must rely on historical evidence and existing documents about the roles of different instruments in the tradition of San Marco and other Venetian churches of the16th and 17th centuries. Therefore, in compositions for three groups, besides the accompaniment on two organs, the harpsichord was chosen for the basso continuo, in accprdance with tradition whith assigned this role to a plucked stringed instrument. Without doubt, the ideal would have been to bring together a group of instruments of the period. However, the number of instruments required is considerable, and authentic cornetti and trombones are no longer in a condition to produce sounds as perfect as they did at the rime. It was necessary to employ trombones and trumpets of modern make which, to obtain the proper polyphonic clarity and perfect equilibrium of the ensembles, demand the greatest of care on the part of players. The two Canzone of Gabrieli, excerpts from the work "Sacrae Symphoniae" composed in 1597, are admirable examples of poly-choral writing of a truly original vigor and rhythmic tension a the instrumental dialogue taking place among the various groups. Even more surprising are the two posthumous Canzone of 1615. The one for 12 voices (rendered in accordance with the original directions of "Violin" and "Cornet" for the loftiest parts of each group) is a majestic fanfare of impressive effect, whereas the Canzona for 8 voices, more meditative in nature and infused with greater pathos, is surprising for the boldness of its writing. The frequent recurrence of a plause in plagal cadence, based on diminuished and augmented melodic and harmonic intervals, adds a thythmic element to the structure of this characteristic composition. Contemporaneous with Gabrieli and, like him, organist in several Venetian churches, GIOVANNI BATTISTA GRILLO also composed in the polychoral style inspired by the architecture of his time. His Canzone, though strongly reflecting the influence of Gabrieli, are interesting for the listener in that one sees emerging from the play of opposites among the various tone colors truly concertante elements. this effect, already noticed in Gabrieli's Canzona for 8 parts, also appears in the two Canzone selected for this recording. Toward the end of the 16th and the start of the 17th centuries, the Venetian style spread to all musical centers of Northern Italy and caused the practice of double instrumental groups to be adepted everywhere. We can admire this style, typically Venetian in origin, in the elegant compositions of TROFEO, à native of Mantua who pursued his musical activities not only here but in Milan and Turin as well. The last examples of writing for double groups in the opulent and grandiose style dear to Gabrieli come to us through several compositions of CAVALLI and are of a musical quality rare indeed. In particular, the Sonata (or Canzona - the two terms were used interchangeably by the composer himself) for 12 parts commands the attention of the listener by the firmness of in well-defined structure. From the beginning of the work the imitative writing displays a remarkable mastery. More fluid, more animated is the Sonata for 10 parts which also seems intended, if one is to believe the incomplete annotations on the original score, for bowed stringed instruments. This tradition of double instrumental groups found an orignal interpretation with VIVALDI who wrote numerous Concerti for two orchestras. The one offered on this recording is an excellent example of the genius with which Vivaldi put his personal stamp on this style of composition. Mingled wihit elements derived from contrasting two groups of tone colors, one finds the manner of the Concerto Grosso. Here and there the violin of the first orchestra and the organ of the second play the role of solo instruments. In the Adagio the accompaniment of the violino solo, for which Vivaldi suggested "l'arpeggio con tiorba" has been realized here by harpsichord and organ. Complementing the solemn fanfare which introduced this retrospective of Venetian inspiration, we end with a brilliant Sonata composed by CALDARA for the Imperial Chapel in Vienna, a short composition marked by a grace and elegance characteristic of the 18th century. OSCAR MISCHIATI (Translated from the French by Constance Jewett)