The Sixteen, Harry Christophers, Margaret Phillips - Monteverdi: Masses (1987)
BAND/ARTIST: The Sixteen, Harry Christophers, Margaret Phillips
- Title: Monteverdi: Masses
- Year Of Release: 1987
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 00:56:40
- Total Size: 230 mb
- WebSite: Album Preview
Tracklist
01. Cantate Domino a 6, SV 293
02. Messa a 4 (1650), SV 190: I. Kyrie
03. Messa a 4 (1650), SV 190: II. Gloria
04. Messa a 4 (1650), SV 190: III. Credo
05. Messa a 4 (1650), SV 190: IV. Sanctus
06. Messa a 4 (1650), SV 190: V. Benedictus
07. Messa a 4 (1650), SV 190: VI. Agnus Dei
08. Domine, ne in furore, SV 298
09. Missa In illo tempore, SV 205: I. Kyrie
10. Missa In illo tempore, SV 205: II. Gloria
11. Missa In illo tempore, SV 205: III. Credo
12. Missa In illo tempore, SV 205: IV. Sanctus
13. Missa In illo tempore, SV 205: V. Benedictus
14. Missa In illo tempore, SV 205: VI. Agnus Dei I
15. Missa In illo tempore, SV 205: VII. Agnus Dei II
The listener seeking sixteenth-century church music at its best is likely to turn to settings of the ordinary of the Mass. This may in part be the consequence of the post-symphonic assumption that a Mass lasting half an hour is somehow more significant than a three-minute motet. But for the composer of the time too, the Mass was an important medium: often one in which he could display his skill on a large scale, honour a particular occasion or person (a saint or a patron), and sometimes pay homage to a fellow composer by choosing in friendly emulation to model his work on his themes. But as the century ended, the Mass became less important musically. One reason was the greater respect given to the meaning of the Mass. The Reformation’s arguments on the nature of the Mass, and the Catholic church’s reaction exemplified in the Council of Trent, diminished its use as an occasion for ostentatious display. It is significant that there are no complete Masses by Giovanni Gabrieli, who was writing for the church most famous for the musical elaboration of its ceremony, St Mark’s, Venice.
The fundamental changes of musical style in this period took place apart from music for the Mass. Sixteenth-century composers published books of masses and motets, but in the seventeenth century, these were replaced by collections of psalms, antiphons and solo motets intended as antiphon substitutes, usually written in the new stile concertato and intended chiefly for Vespers. The best-known example is Monteverdi’s Vespers of 1610, though that is unusual in its careful presentation of music for just one service. The music is in the new style, even the psalms for several voices requiring soloists and demanding a more virtuosic manner. An organ continuo accompaniment is necessary, and sometimes other obbligato instruments too. Masses appeared rarely, and tended to be written in a more traditional manner.
Monteverdi must have written considerably more than the three settings of the Mass which have survived. In 1601, when applying for the position as successor to Pallavicino as maestro di cappolla to Vincenzo Gonzaga, Duke of Mantua, he mentions his motets and masses, and in a letter of 1634, he implies that he was expected to write a new Mass every Christmas. In 1631, the thanksgiving for the end of the plague included a solemn mass by Monteverdi, with loud trumpets playing during the Gloria and Credo: the Gloria may perhaps have been the one published ten years later in his massive collection of Venetian service-music Selva morale. But it is significant that his concertato Masses were not published: there was evidently no market for them. Each of the three publications of Monteverdi’s church music begins with a Mass, but they are all in the old a capella style, contrasting with the concertato style that predominates in the rest of the collections...
01. Cantate Domino a 6, SV 293
02. Messa a 4 (1650), SV 190: I. Kyrie
03. Messa a 4 (1650), SV 190: II. Gloria
04. Messa a 4 (1650), SV 190: III. Credo
05. Messa a 4 (1650), SV 190: IV. Sanctus
06. Messa a 4 (1650), SV 190: V. Benedictus
07. Messa a 4 (1650), SV 190: VI. Agnus Dei
08. Domine, ne in furore, SV 298
09. Missa In illo tempore, SV 205: I. Kyrie
10. Missa In illo tempore, SV 205: II. Gloria
11. Missa In illo tempore, SV 205: III. Credo
12. Missa In illo tempore, SV 205: IV. Sanctus
13. Missa In illo tempore, SV 205: V. Benedictus
14. Missa In illo tempore, SV 205: VI. Agnus Dei I
15. Missa In illo tempore, SV 205: VII. Agnus Dei II
The listener seeking sixteenth-century church music at its best is likely to turn to settings of the ordinary of the Mass. This may in part be the consequence of the post-symphonic assumption that a Mass lasting half an hour is somehow more significant than a three-minute motet. But for the composer of the time too, the Mass was an important medium: often one in which he could display his skill on a large scale, honour a particular occasion or person (a saint or a patron), and sometimes pay homage to a fellow composer by choosing in friendly emulation to model his work on his themes. But as the century ended, the Mass became less important musically. One reason was the greater respect given to the meaning of the Mass. The Reformation’s arguments on the nature of the Mass, and the Catholic church’s reaction exemplified in the Council of Trent, diminished its use as an occasion for ostentatious display. It is significant that there are no complete Masses by Giovanni Gabrieli, who was writing for the church most famous for the musical elaboration of its ceremony, St Mark’s, Venice.
The fundamental changes of musical style in this period took place apart from music for the Mass. Sixteenth-century composers published books of masses and motets, but in the seventeenth century, these were replaced by collections of psalms, antiphons and solo motets intended as antiphon substitutes, usually written in the new stile concertato and intended chiefly for Vespers. The best-known example is Monteverdi’s Vespers of 1610, though that is unusual in its careful presentation of music for just one service. The music is in the new style, even the psalms for several voices requiring soloists and demanding a more virtuosic manner. An organ continuo accompaniment is necessary, and sometimes other obbligato instruments too. Masses appeared rarely, and tended to be written in a more traditional manner.
Monteverdi must have written considerably more than the three settings of the Mass which have survived. In 1601, when applying for the position as successor to Pallavicino as maestro di cappolla to Vincenzo Gonzaga, Duke of Mantua, he mentions his motets and masses, and in a letter of 1634, he implies that he was expected to write a new Mass every Christmas. In 1631, the thanksgiving for the end of the plague included a solemn mass by Monteverdi, with loud trumpets playing during the Gloria and Credo: the Gloria may perhaps have been the one published ten years later in his massive collection of Venetian service-music Selva morale. But it is significant that his concertato Masses were not published: there was evidently no market for them. Each of the three publications of Monteverdi’s church music begins with a Mass, but they are all in the old a capella style, contrasting with the concertato style that predominates in the rest of the collections...
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