gerelateerde werken
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK4
Sub Rosa : for 12 voices, or mixed choir with tape / Maxim Shalygin
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK tape
Genre:
Vocaal
Subgenre:
Gemengd koor
Bezetting:
GK
compositie
Sacræ Cantiones quinis vocibus : Motets for 5 voices / Giovanni Croce; transcribed and edited by Cees Wagemakers
Overige auteurs:
Wagemakers, Cees
(Editor)
Croce, Giovanni
(Componist)
Bevat:
Audi Domine (2’15”)
Ego rogabo patrem (2’45”)
Non turbetur cor vestrum (2’15”)
Sancta Maria, succurre miseris (2’15”)
Hodie completi sunt (2’45”)
Benedicta sit Sancta Trinitas (2’45”)
O sacrum convivium (3’30”)
Sancta et immaculata virginatas (3’45”)
Egredimini et videte (2’30”)
Descendi in hortum (2’45”)
Aspice Domine (2’30”)
Verbum iniquum (2’45”)
Vidi speciosam (2’45”)
Domine refugium factus est (2’15”)
Veni Domine (2’15”)
Dies sanctificatus (2’00”)
Deus, canticum novum cantabo (2’15”)
Tribularer si nescirem (4’45”)
Angelus Domini Descendit (3’00”)
Diligam te Domini (2’45”)
Toelichting:
Most of Croce’s sacred music is polychoral. In this series there are his two books of motets for double choir and one book of motets for 5 voices a cappella.
His "First Book of Motets" (1603) has been re-issued in 1607 with a continuo partition added to it (basso per sonar nell’ organo), dubbing the bass. The continuo part of the 1607 edition is added to the content of the 1603 edition, which is the same.
The "Second Book of Motets" (1605) has no such continuo partition. Both books were published by Giacomo Vincenti in Venice. The "Book of 5-part Motets" (translation of Sacræ Cantiones quinis vocibus - published in 1605 by Giacomo Vincenti in Venice as well) is the third book in this series and is more polyphonic.
The typical polychoral Venetian style in the motets is inspired by the architecture of St. Mark’s with its various choirs around the altar and the nave. This style - cori spezzati, meaning separated choirs - grew more and more common in Venice after Adrian Willaert, the Flemish innovator of Venetian music.
Though Croce was a contemporary of Giovanni Gabrieli, he was more influenced by Andrea Gabrieli than his nephew. Writing with less emotional "amplitudo" and more transparency like Palestrina did. Nevertheless Croce’s motets for double choir can be enjoyed for their festive mood. Singing and listening to this music makes it easy to imagine the spacious domes of St. Mark’s basilica and the music circling through it. His 5-part motets are more a reminder of the intricate texture of the Renaissance polyphony.
Cees Wagemakers, 2015