related works
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12)
Scoring:
zang
Tricinia : voor tenor, bariton en bas, opus 25, 1945 [i.e. 1945-1947] / Marius Flothuis
Genre:
Vocal music
Subgenre:
Male choir; Vocal ensemble (2-12)
Scoring:
ten bar bas / MK3
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12); Mixed choir
Scoring:
sopr sopr-m alt ten bar / GK5
Quam dilecta tabernacula : (Psalmus 84), for small choir or 5 soloists, 2001 / Daan Manneke
Genre:
Vocal music
Subgenre:
Mixed choir; Vocal ensemble (2-12)
Scoring:
GK5 / 2sopr alt ten bas
composition
Parnassus Musicus Fernandæus (Volume 2) : Motets for 3, 4 & 5 voices & non-figured Basso Continuo (Partitura) / collected by Giovanni Battista Bonometti; transcribed and edited by Cees Wagemakers
Other authors:
Wagemakers, Cees
(Curator)
Bonometti, Giovanni Battista
(Composer)
Contains:
Vincenzo Pellegrini (c. 1562-1631): Laudate Dominum in sanctis (3’45”)
Giovanni Valentini (c. 1582-1649): O dulcis amor Iesu (3’45”)
Giovanni Ghizzolo (c. 1580-1625): Super flumina Babylonis (3’)
Alessandro Tadei (1585-1667): O beatum Carolum (4’30”)
Andrea Cima (c. 1575-1625): Heu quem diligit anima mea (3’30”)
Giacomo Brignoli (baroque composer): Ave gratia plena (3’30”)
Giovanni Battista Cocciola (bar. comp.): Ave mundi spes Maria (2’45”)
Giovanni Valentini (c. 1582-1649): Vulnerasti cor meum (3’15”)
Raimondo Balestra (baroque composer): Cur mundus militat (3’)
Michelangelo Rizzi (baroque composer): Bonum est confiteri Domino (3’30”)
Vincenzo Pellegrini (c. 1562-1631): Vincenti dabo (3’15”)
Giovanni Cavaccio (c. 1556-1626): Inviolata (3’30”)
Giovanni Priuli (c. 1575-1626): O Crux benedicta (3’45”)
Giovanni Domenico Rognoni (bar. comp.): Dilectus meus (4’45”)
Gulielmo Arnone (c. 1570-1630): Consolamini popule meus (3’30”)
Giorgio Poss (fl. 1594-1633): Gaudeamus, exultemus (2’45”)
Cesare Borgo (baroque composer): Euge serve bone (2’30”)
Orazio Nanterni (baroque composer): Cantate Domino (5’)
Giovanni Ghizzolo (c. 1580-1625): Confitemini gentes (4’)
Giulio Osculati (fl. 1601-1615): Quid moraris (3’30”)
Flaminio Comanedo (1570-1622): Gaudens gaudebo (5’)
Raimondo Balestra (baroque composer): Salve æterni (4’15”)
Giacomo Brignoli (baroque composer): Venter eius eburneus (3’)
Federico Coda (baroque composer): Congratulamini mihi (4’15”)
Francesco Casati (baroque composer): Oculi eius sicut columbæ (4’15”)
Vincenzo Pellegrini (c. 1562-1631): Non turbetur cor vestrum (4’45”)
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.