Amadio Freddi - Vespers 2019

Amadio Freddi - Vespers (1616)

Жанр: Classical sacred
Страна-производитель диска: Made in the EU
Год издания диска: 2019
Издатель (лейбл): Resonus Classics
Номер по каталогу: RES10245
Дата записи: 2019
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 00'58'10
Источник: релизер
-источник/ник/другое: Roy Movrich, подарок; Caterina Sforza - доп. сканы (cue не трогал)
: да, авторские сканы tif + web pdf буклет
Треклист:

1 Ignazio Donati: Domine ad adiuvandum 2:13

2 Amadio Freddi: Dixit Dominus 5:20

3 Biagio Marini: Sinfonia 'La Cornera' 2:29

4 Giovanni Gabrieli 0:28

5 Amadio Freddi: Laudate Pueri 4:03

6 Alessandro Grandi: Tota pulchra es 4:39

7 Amadio Freddi: Laetatus sum 5:26

8 Dario Castello: Seconda Sonata 4:43

9 Giovanni Gabrieli: Intonazione del Ottavo Tono 0:34
Amadio Freddi:

10 Nisi Dominus 4:12

11 Cognoscam te, Domine 2:57

12 Giovanni Gabrieli: Intonazione del Terzo et Quarto Tono 0:36

13 Amadio Freddi: Lauda Jerusalem 3:51

14 Biagio Marini: Sinfonia 'La Martinenga' 2:24
Amadio Freddi:

15 Amadio Freddi (reconstructed Jamie Savan): Ave maris stella 3:36

16 Salve Regina 2:46

17 Andrea Gabrieli: Intonazione del Sesto Tono 1:21

18 Amadio Freddi: Magnificat Sesto Tuono 6:23

Исполнители

Amadio Freddi (c1580-1643)
Vespers (1616)
Ignazio Donati (c1570-1638)
Domine ad adiuvandum
Amadio Freddi (c1580-1643)
Dixit Dominus
Biagio Marini (1594-1663)
Sinfonia꞉ La Cornera
Giovanni Gabrieli (c1554-1612)
Intonazione del Secondo Tono
Amadio Freddi (c1580-1643)
Laudate pueri
Alessandro Grandi (1586-1630)
Tota pulchra es
Amadio Freddi (c1580-1643)
Laetatus sum
Dario Castello (c1590-c1658)
Seconda Sonata
Giovanni Gabrieli (c1554-1612)
Intonazione del Ottavo Tono
Amadio Freddi (c1580-1643)
Nisi Dominus
Cognoscam te, Domine
Giovanni Gabrieli (c1554-1612)
Intonazione del Terzo et Quarto Tono
Amadio Freddi (c1580-1643)
Lauda Jerusalem
Biagio Marini (1594-1663)
Sinfonia꞉ La Martinenga
Amadio Freddi (c1580-1643) (reconstructed by Jamie Savan)
Ave maris stella
Amadio Freddi (c1580-1643)
Salve Regina
Giovanni Gabrieli (c1554-1612)
Intonazione del Sesto Tono
Amadio Freddi (c1580-1643)
Magnificat Sesto Tuono
Amadio Freddi (c.1580-1643)
[u]The Gonzaga Band[/u]:
Faye Newton, soprano
Mark Chambers, countertenor
Tim Travers-Brown, countertenor
Steven Harrold, tenor
Thomas Herford, tenor
William Gaunt, bass
Oliver Webber, violin
Jamie Savan, director, cornett (treble, mute)
Steven Devine, organ
Recorded in St Andrew’s Church, Toddington on 19-21 March 2019
Release Date: 30th Aug 2019

About

Following the international success of their first album on Resonus, Venice 1629, Jamie Savan with his acclaimed period group The Gonzaga Band continue their exploration of lesser-known music in the Venetian orbit. Here they uncover a forgotten masterpiece by Amadio Freddi, maestro di cappella of Treviso Cathedral during Monteverdi’s tenure at St Mark’s in Venice. Luminous vocal textures and sparkling instrumental writing, together with harmonic originality and melodic invention combine to reveal a fascinating composer with a unique voice, heard again for the first time in this world premiere recording. The Gonzaga Band was formed by cornettist Jamie Savan in 1997, with a mission to explore the intimate relationship between vocal and instrumental performance practice in the Early Modern period. The ensemble takes its name from the ducal family of Mantua: the Gonzagas were powerful and influential patrons of the arts in the late Renaissance, who employed Claudio Monteverdi as their maestro della musica at the turn of the seventeenth century. Monteverdi wrote some of his most innovative music for the Gonzagas: his third, fourth and fifth books of madrigals, the operas Orfeo and Arianna, and of course the Vespers of 1610.

Produktbeschreibungen

Following the international success of their first album on Resonus, Venice 1629, Jamie Savan with his acclaimed period group The Gonzaga Band continue their exploration of lesser-known music in the Venetian orbit. Here they uncover a forgotten masterpiece by Amadio Freddi, maestro di cappella of Treviso Cathedral during Monteverdis tenure at St Marks in Venice. Luminous vocal textures and sparkling instrumental writing, together with harmonic originality and melodic invention combine to reveal a fascinating composer with a unique voice, heard again for the first time in this world premiere recording.

Review

We know very little about Amadio Freddi (c1580-1643). His death is known to be in 1634, but his age at death is reported to be either c1570 or c1580. The latter date seems more likely, as in 1592 he was in paid employment at the Basilica of S. Antonio in Padua as a boy soprano, followed in 1598 with a doubling of salary as a countertenor. He seems to have come from humble background, his father having worked as a sword polisher. The payment from S. Antonio, unique for a boy soprano at the time, may have been a reflection of his families straightened circumstances. This important recording by The Gonzaga Band is the world premiere recording of his 1616 Vespers, from his Messa, vespro et compieta, composed while he was maestro di cappella at Treviso Cathedral between 1615 and 1627. In 1627 he moved to Vicenza before returning to Padua in 1634.
The Vespers were composed at the same time as Monteverdi was at St Mark’s Venice, but it is not known whether Freddi knew Monteverdi’s own Vespers. If he did, he made little effort to copy the large scale and musically dramatic nature of Monteverdi. His own Vespers are restrained, reflective, and perhaps a little introverted, despite being probably intended for a festive occasion in Treviso. Performed here with six singers and three instrumentalists (cornett, violin and organ), the music has a light and clear texture, aided by the impressive clarity of the performances. Freddi makes clever of the two solo instruments, which provide introductory Sinfonias and a Sonata by Dario Castello as well as combining and contrasting with the voices “so they do not have to sing continuously”.
Whether the published pieces were intended to be performed together is discussed in Jamie Savan’s comprehensive programme notes, the changes in vocal tessitura between the pieces being a possible clue to separate performance, and making it tricky to perform with less than 6 singers. Gaps in Freddi’s sequence are filled with an opening versicle and response from Ignazio Donati’s 1623 Psalmi boscarecci. Other vocal pieces included are by Grandi and Marini. Short organ intonations by Giovanni and Andreas Gabrieli are played by Steven Devine on a sampled Hauptwerk version of an 18th-century Italian style organ from Slovenia.
The key vocal soloist is soprano Faye Newton, her beautifully stable and clear voice adding to clarity of Freddi’s Salve Regina and Grandi’s Tota pulchra es. Jamie Savan reconstructed some of the music, and directs and plays the cornett and mute cornett, the tone of both demonstrating the vocal tone of both instruments.