composer
related works
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK
The Whitsun weddings : for choir a cappella, 1996 / Lowell Dijkstra
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK4
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
GK5
Genre:
Vocal music
Subgenre:
Mixed choir
Scoring:
sopr zang
composition
Sacra Corona : 23 motets for 2 & 3 voices and basso continuo / Various composers, assembled by Bartolomeo Marcesso; transcribed and edited by Cees Wagemakers
Other authors:
Wagemakers, Cees
(editor)
Contains:
Giovanni Rovetta: Nigra sum (12’30”)
Orazio Tarditi: Victoriam, victoriam (6’30”)
Stefano Filippini: Stellæ discedite (6’30”)
Barbara Strozzi: Quis dabit mihi (7’15”)
Giovanni Rovetta: O quando suavissimum (5’45”)
Francesco Cavalli: Plaudite, cantate (5’15”)
Francesco Cavalli: In virtute tua, Domine (7’30”)
Natale Monferato: Peccator, si tu times (9’30”)
Biagio Marini: Iesu mi dulcissime (4’)
Maurizio Cazzati: Obstupescite gentes (6’45”)
Pietro Andrea Ziani: Salve Regina (5’30”)
Natale Monferato: Dulce sit vobis pati (8’15”)
Giovanni Battista Volpe: O Sacramentum (5’45”)
Massimilliano Neri: Salve Virgo benignissima (10’30”)
Simone Vesi: O vos omnes (6’15”)
Stefano Filippini: Lætare Mater Ecclesia (5’15”)
Francesco Cavalli: O bone Iesu (4’15”)
Massimilliano Neri: Ad charismata coelorum (3’30”)
Giovanni Battista Volpe: Iesu mi benignissime (4’15”)
Pietro Andrea Ziani: Exultate, gaudete, iubilate (5’)
Biagio Marini: Surge propera (6’45”)
Maurizio Cazzati: Salve mundi triumphatrix (6’45”)
Orazio Tarditi: Spargite flores (7’30”)
Description:
The Library of Congress, Washington USA, contains an early edition of a collection of motets, Sacra Corona, by various composers, assembled by Bartolomeo Marcesso, and dedicated to Federico Scullazon. The scans of this book have been put on the internet. The book was printed in Venice, 1656, by Francesco Magni, a publisher much less famous than Scotto or Gardano. All the motets (often parts from the Song of Songs) are written by Italian composers, many of which were working in Venice.
All the motets are from the same period and all have the same format with rhythm changes underway, very common in the early Baroque around 1650. And in the original edition we see the first indications for tempo and dynamics appear.
Cees Wagemakers, 2019