related works
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12)
Scoring:
zang
Genre:
Vocal music
Subgenre:
Voice solo
Scoring:
bar
Dit is uw deel : Pred. IX, 1-10, bariton solo, 1953 / H.C. King
Genre:
Vocal music
Subgenre:
Voice solo
Scoring:
bar
Genre:
Vocal music
Subgenre:
Voice solo
Scoring:
bar
composition
Parnassus Musicus Fernandæus (Volume 1) : Motets for 1 & 2 voices & non-figured Basso Continuo (Partitura) / collected by Giovanni Battista Bonometti; transcribed and edited by Cees Wagemakers
Other authors:
Wagemakers, Cees
(Editor)
Bonometti, Giovanni Battista
(Composer)
Contains:
Vincenzo Pellegrini (c. 1562-1631): Dominus regit me (2’30”)
Giovanni Valentini (c. 1582-1649): O Maria, quid ploras (4’45”)
Giovanni Domenico Rognoni (?-?): Una es, o Maria (3’)
Galeazzo Sirena (fl. 1615): O Amantissime et dulcissime (3’30”)
Giovanni Valentini (c. 1582-1649): Deus misereatur nostri (3’)
Giovanni Pasti (baroque composer): Ad te desiderat (3’15”)
Federico Coda (baroque composer): Veni dilecte mi (5’)
Giorgio Poss (fl. 1594-1633): Hic est beatus Carolus (3’)
Bartolomeo Cesana (c. 1575-1623): Quemadmodum desiderat (3’45”)
Michelangelo Rizzi (baroque composer): Exaudi me Domine (3’15”)
Benedetto Rè (16th c.): In te Domine speravi (3’15”)
Giovanni Priuli (c. 1575-1626): Egredimini Filiae Sion (3’15”)
Vincenzo Pellegrini (c. 1562-1631): Vulnerasti cor meum (3’45”)
Benedetto Rè (16th c.): Iubilate Deo (3’)
Bartolomeo Cesana (c. 1575-1623): Confige timore tuo (2’15”)
Francesco Casati (fl. early 17th c.): Una es columba mea (3’15”)
Anon.: De ore prudentis (3’15”)
Claudio Monteverdi (1567-1643): Cantate Domino (5’45”)
Giacomo Fillippo Biumi (fl. 1615-1652): Veni in hortum meum (4’)
Alessandro Bontempo (bar. comp.): Quam breve festum (3’30”)
Giulio Cesare Gabutio (c. 1564-1613): O Crux benedicta (2’45”)
Giovanni Sansone (baroque composer): Ego dormio (2’30”)
Giovanni Valentini (c. 1582-1649): Benedicam Dominum (2’30”)
Anon.: Spriritus Sanctus (3’15”)
Giovanni Sansone (baroque composer): Ecce quam bonum (2’30”)
Giovanni Cavaccio (c. 1556-1626): Paratum cor meum (2’15”)
Bartolomeo Barbarino (c. 1568-c. 1617): Omnes sitientes (2’45”)
Giovanni Priuli (c. 1575-1626): Adoramus te Domine (3’45”)
Francesco Turino (baroque composer): Sacrificemus Reginæ cæli (4’30”)
Nicolò Corradini (c. 1585-1646): Attende Domine (3’00”)
Giovanni Priuli (c. 1575-1626): Gustate et videte (4’15”)
Description:
The Parnassus Musicus Fernandæus is one of the earliest Italian anthologies of religious concerti for small voice-combinations. It was published by the tenor Giovanni Battista Bonometti and dedicated to the Archduke Ferdinand in Graz.
It consists of 57 motets for 1-5 voices with continuo by 22 contemporary composers, mostly Italian, Claudio Monteverdi being the best-known among them. Almost half of the collection was written by 9 composers who were in service of Ferdinand: Ballestra, Bontempo, Muzzi, Poss (court trumpeter and cornettist - the only German in this collection), Priuli, Rizzio, Sansone, Tadei and Valentini, all of them prominent composers in Upper-Italy in those days. Later they would occupy responsible positions in the Habsburg court.
The collection Parnassus Musicus Fernandæus was offered to Ferdinand to celebrate his 20th anniversary as governor of Styria (Steiermark). Four years later, in 1519 Ferdinand would be crowned Holy Roman Emperor Ferdinand II. He moved his court to Vienna. This moment marked the ending an era of more than a century of Franco-Flemish domination of music in the imperial city.
Motets (or sacred concertos) for a few voices began to appear in Italy near the beginning of the 17th century originating from a purely practical desire for music that could be performed by modest forces and the exploration of the textural possibilities engendered by the new basso continuo. By the second decade of the century, the few-voiced concerto was well established in countries north of the Alps. Ferdinand’s court at Graz was one of the first important centers in
the North to cultivate this stile nuovo.
The music in this anthology displays certain forward-looking tendencies. The daring harmonic language is distinctly oriented toward the seconda prattica: in Valentini’s motet “Quid ploras, Maria?” for instance, the work includes coloristic shifts between natural and flat hexachords, one of his hallmarks. On the other side Valentini sticks to the older imitative motet style as well. The chromatic ascent on the word ‘ploras’ (why are you weeping?) is striking, but rather conventional. The motet also makes extensive use of lyrical triple-meter sections, which became increasingly popular in the coming decades with a lighter aria style.