composer
Fra Arcangelo Crotti was an Augustine friar who lived a secluded and contemplative life in Ferrara. He was born around 1550 and died in 1606.
His Church Concerts (Concerti Ecclesiastici) was ...
related works
Genre:
Vocal music
Subgenre:
Vocal Ensemble (2-12) and instrument(s)
Scoring:
GK instr
Liebkrank : for accordion, soprano and baritone / Chiel Meijering
Genre:
Vocal music
Subgenre:
Vocal Ensemble (2-12) and instrument(s)
Scoring:
acc sop bar
Genre:
Vocal music
Subgenre:
Vocal Ensemble (2-12) and instrument(s)
Scoring:
sopr alt fl cl pf
Partita argentea / Herman Strategier
Genre:
Vocal music
Subgenre:
Voice and instrument(s); Vocal Ensemble (2-12) and instrument(s)
Scoring:
medium (1 or more voices) fl fl/ob pf4h vl vc
composition
First Book of Church Concerts : for 1-4 voices and instruments / Fra Arcangelo Crotti; transcribed and edited by Cees Wagemakers
Other authors:
Wagemakers, Cees
(editor)
Contains:
Laudate Domino | S or T (2’30”)
Cantate Domino | SBar or AB (transposed) (2’)
Iubilate Deo | SBar or AB (transposed) (2’15”)
Exultate Deo | SB (2’15”)
Cangratulamini mihi | S, Cornetto/Violin, Trombone basso (3’30”)
O gloriosa domina | S, Cornetto/Violin, Trombone (4’)
O Domine Iesu Christe à 3 | SSB (3’)
Doctor bonus | SSB (3’)
O sacrum convivium | S, Cornetto/Violin, Trombone basso (3’)
Ave regina coelorum | SS, 2 Trombones (2’30”)
O Domine Iesu Christe à 4 | SATB (3’)
O crux pretiosa | S or T (2’)
Sancta Maria, ora pro nobis | S, 2 Cornetti/Violins, Trombone (3’)
Pater peccavi | S, Cornetto/Violin, 3 Trombones (2’45”)
Gaudeamus omnes | SS or TT (3’)
Ego dormio | SS or TT (2’15”)
Duo Seraphim | SS or TT (2’30”)
Domine, ne in furore tua | SS or TT (3’15”)
Ardens est cor meum | SS or TT (2’15”)
Factum est silentium | SS or TT (2’15)
Super flumina Babylonis | SS or TT (2’15”)
Description:
This book of Church Concerts (Concerti Ecclesiastici) was first published two years after Crotti's death, in 1608. It was dedicated to Duke Alessandro d’ Este of Ferrara, member of a family that endorsed many musicians. The first motets in this bundle seem rather simple and obligatory - though still well-written - but the latter ones are very intricate and pleasant for the ear. The instrumentation with wind instruments (cornetti, trombones) and violins are rather rare in the sacred music of those days. That’s why they are a challenge for well-trained solo singers, but also accessible for vocal ensembles.
Especially The Sonata sopra Sancta Maria is a faint reminiscence of the better known Sonata by Claudio Monteverdi in his 1610 Vespers. It is unknown who first merged the tradition of the motet based on an ostinato subject with that of the sonata for instruments and solo voice; was it Monteverdi or was it Crotti?
Clearly Monteverdi was more experienced and had written a lot more music (as far as we can see), so his Sonata is richer. But Crotti has done a marvellous job, and deserves to be heard again, after more than 400 years.
Cees Wagemakers