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Splendore a Venezia - Music in Venice from the Renaissance to the Baroque

Gabrieli / Academi Baroque De Montreal
Release Date: 10/15/2013 
Label:  Atma Classique   Catalog #: 23013   Spars Code: n/a 
Composer:  Antonio VivaldiAndrea GabrieliGiovanni BassanoGiovanni Gabrieli,   ... 
Performer:  Mathieu LussierWashington McClainMargaret Little [Viola da gamba]Stephen Stubbs,   ... 
Conductor:  Alexander WeimannChristopher JacksonEric MilnesOlivier Fortin,   ... 
Orchestra/Ensemble:  Académie Baroque de MontréalLes Voix BaroquesStudio de Musique Ancienne de Montréal,   ... 
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 18 Mins. 

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Notes and Editorial Reviews

ATMA Classique has produced a compilation recording of music by major Venetian composers to celebrate the Montreal Museum of Fine Arts’ exhibition Splendore a Venezia: Art and Music from the Renaissance to the Baroque in the Serenissima, which opens on October 12, 2013. Also entitled Splendore a Venezia, this CD release boasts a full-color booklet illustrated with several of the works presented in the MMFA exhibition.

Splendore a Venezia contains pieces by composers represented in the exhibition — Antonio Vivaldi, Claudio Monteverdi, Giovanni Gabrieli, and Tomaso Albinoni, among others. The performers include Karina Gauvin, Alexander Weimann, Francis Colpron, Concerto Palatino, the Studio de musique ancienne de
Read more Montréal, and Les Boréades — among the best musicians on the Canadian and international scenes. Read less

Works on This Recording

1.
Concerto for Oboe and Bassoon in G major, RV 545 by Antonio Vivaldi
Performer:  Mathieu Lussier (Bassoon), Washington McClain (Oboe)
Conductor:  Alexander Weimann
Orchestra/Ensemble:  Académie Baroque de Montréal
Period: Baroque 
Written: Venice, Italy 
Length: 9 Minutes 1 Secs. 
2.
Due rose fresche by Andrea Gabrieli
Orchestra/Ensemble:  Les Voix Baroques
Period: Renaissance 
Length: 3 Minutes 46 Secs. 
3.
Ricercata no 4 by Giovanni Bassano
Performer:  Margaret Little [Viola da gamba] ()
Period: Renaissance 
Written: 1585; Italy 
Length: 2 Minutes 38 Secs. 
4.
O magnum mysterium by Giovanni Gabrieli
Conductor:  Christopher Jackson
Orchestra/Ensemble:  Studio de Musique Ancienne de Montréal,  Concerto Palatino
Period: Renaissance 
Written: by 1587; Italy 
Length: 3 Minutes 36 Secs. 
5.
Canzoni da sonar: no 15 by Giovanni Picchi
Orchestra/Ensemble:  Concerto Palatino
Length: 4 Minutes 15 Secs. 
6.
Sonata no 12 "sopra la Bergamasca" by Salomone Rossi
Conductor:  Eric Milnes
Orchestra/Ensemble:  La Bande Montréal Baroque
Period: Renaissance 
Written: Italy 
Length: 2 Minutes 46 Secs. 
7.
Ballo Secondo (Book 4 of Intavolatura di Chtarone) by Giovanni Kapsberger
Performer:  Stephen Stubbs (Chitarrone), Maxine Eilander (Double Harp)
Period: Baroque 
Length: 4 Minutes 29 Secs. 
8.
Sonata Seconda for soprano recorder, viola da gamba & lute (from Sonata à 1, 2, 3) by Giovanni Battista Fontana
Performer:  Francis Colpron (Recorder)
Orchestra/Ensemble:  Les Boréades de Montréal
Period: Baroque 
Written: 16th Century; Italy 
Length: 6 Minutes 40 Secs. 
9.
Madrigals, Book 6: Zefiro torna e'l bel tempo rimena by Claudio Monteverdi
Performer:  Colin Balzer (), Charles Daniels ()
Orchestra/Ensemble:  Les Voix Baroques
Period: Baroque 
Written: by 1614; Italy 
Length: 6 Minutes 2 Secs. 
10.
Sonata decima, for 2 violins, 2 violette & viola da brazzo by Johann Rosenmüller
Conductor:  Olivier Fortin
Orchestra/Ensemble:  Ensemble Masques (Classical)
Length: 5 Minutes 30 Secs. 
11.
Intonazione degli Ebrei Tedeschi & aria De la vita'l retto calle for alto, 2 violas da gamba & conti by Benedetto Marcello
Performer:  Rinat Shaham ()
Conductor:  Jay Bernfeld
Orchestra/Ensemble:  Fuoco e Cenere
Period: Baroque 
Written: 1724-1726 
Length: 3 Minutes 24 Secs. 
12.
Concerti (12) à 5, Op. 9: no 2 for Oboe in D minor by Tomaso Albinoni
Performer:  Matthew Jennejohn (Oboe)
Orchestra/Ensemble:  Les Boréades de Montréal
Period: Baroque 
Written: 1722; Venice, Italy 
Length: 12 Minutes 9 Secs. 
13.
"La verità in cimento", opera in 3 acts, RV 739: Aria: Addio Caro by Antonio Vivaldi
Performer:  Karina Gauvin ()
Conductor:  Alexander Weimann
Period: Baroque 
Written: 10/26/1720; Italy 
Length: 3 Minutes 50 Secs. 
14.
Vespro della Beata Vergine: Laetatus sum a 6 by Claudio Monteverdi
Performer:  Stephan Macleod (Voice), Julian Podger (Voice), Barbara Borden (Voice),
Suzie LeBlanc (Voice), John Potter (Voice), Alexander Schneider (Voice)
Conductor:  Stephen Stubbs
Orchestra/Ensemble:  Tragicomedia
Period: Baroque 
Written: by 1610; Mantua, Italy 
Length: 6 Minutes 20 Secs. 
15.
Concerto in F major for solo organ, BWV 978: 1. Allegro by Johann Sebastian Bach
Performer:  Vincent Boucher (Organ)
Period: Baroque 
Written: 1713-1714 
Date of Recording: 1973 
Venue:  Église Anglicane St. Matthias Westmount, 
Length: 2 Minutes 32 Secs. 

Sound Samples

Concerto for Oboe and Bassoon in G Major, RV 545: I. Andante molto
Concerto for Oboe and Bassoon in G Major, RV 545: II. Largo
Concerto for Oboe and Bassoon in G Major, RV 545: III. Allegro molto
Il primo libro di madrigali: Due rose fresche
Ricercata No. 4
O Magnum Mysterium: O magnum mysterium a 8
Canzoni da sonar: Canzon decima quinta a 6
Vespro della Beata Vergine, "composti sopra canti fermi": Vespro della Beata Vergine, "1610 Vespers": Laetatus sum
Il quarto libro de varie sonate, sinfonie, gagliarde, brandi e corrente: Sonata: Sonata duodecima sopra la Bergamasca
Libro IV d'intavolatura di chitarrone: Ballo No. 2
Sonata seconda
Zefiro torna e di soavi accenti, SV 251
12 Sonatas (1682): Sonata No. 10 a 5 in F Major
Psalm 15: X. Intonazione degli Ebrei Tedeshi (Maoz Zur yeshuati)
Oboe Concerto in D Minor, Op. 9, No. 2: I. Allegro e non presto
Oboe Concerto in D Minor, Op. 9, No. 2: II. Adagio
Oboe Concerto in D Minor, Op. 9, No. 2: III. Allegro
La verita in cimento, RV 739: Act II: Aria: Addio caro. Tu ben sai
Keyboard Concerto in F Major, BWV 978 (arr. of Vivaldi's Violin Concerto in G Major, RV 310): I. Allegro

Customer Reviews

Average Customer Review:  1 Customer Review )
 A splendid recording of Venetian renaissance and  June 1, 2014 By K. Bergman (Ashland, OR) See All My Reviews "This CD, "Splendore a Venezia," was issued to celebrate the exhibit, "Art and Music in Venice," organized by and shown at the Montreal Museum of Fine Arts in 2013 and at the Portland, Oregon, Art Museum in early 2014. It also serves as a musical supplement to the fine catalog of paintings, drawings, statuary, musical instruments, and musical scores that comprised the exhibit. The musical selections were performed and recorded in Montreal, most of them at the Bourgie Concert Hall at the Montreal Museum. Music from these selections was played over the sound system when I saw the exhibit in Portland and complemented the exhibit's many paintings of musicians and musical scenes as well as the instruments on display. Words fail me to describe how splendidly this combination of art and music made the exhibit a very special experience. The composers featured on this CD all lived and worked in Venice between 1500 and 1797, the period covered by the exhibit. The recording opens with a splendid concerto for oboe, bassoon, and continuo by Venice's most famous composer, Vivaldi. The rest of the compositions are in roughly chronological order. The earliest is a late renaissance madrigal for five voices, "Due Rose Fresche," by Andrea Gabrieli (1566). That's followed by Giovanni Bassano's "Ricercata Quarta" for solo viola da gamba. One of the most beautiful selections is "O Magnum Mysterium" for 8 voices in two choirs, singing antiphonally, and brass by Giovanni Gabrieli (nephew of Andrea). This sacred work along with Giovanni Picchi's "Canzon" for two cornetts and four sackbuts epitomize the culmination of late renaissance music. The motet "Laetatus sum" for six voices of Claudio Monteverdi is representative of the transition from renaissance to Baroque vocal musical style. Monteverdi was the primary composer who developed Italian Baroque singing style. Salomone Rossi's "Sonata 12 sopra la Bergamesca" for two violins, recorder, cornett, and continuo is basically variations on a short theme, and the following "Ballo Secondo" for chitarrone (a large lute, also known as theorbo) and double harp (as continuo) by Giovanni Kapsberger is another set of variations on a longer, binary theme. Giovanni Fontana's Second Sonata for recorder and continuo features florid, ornamental recorder playing in a part that may have originally been written for violin. Another vocal work of the early Baroque is Monteverdi's madrigal "Zefiro Torna" for two tenors and continuo, featuring echo passages of one tenor by the other. Johann Rosenmuller moved to Venice from Leipzig and composed his set of sonatas there, including the Sonata 10 in F, before moving back to Germany. This piece reflects his background in its German use of counterpoint and fugue. One of the most interesting selections is Benedetto Marcello's paraphrased setting of Psalm 15 for contralto, two violas da gamba, and continuo. The aria featured here, "De la vita'l retto calle" (The Straight Road of Life) is proceeded by an Intonazione based on a chant that Marcello heard in a synagogue in the Guidecca quarter of Venice. Tomaso Albinoni (who did NOT compose the Adagio in G Minor) introduced the oboe as a solo or duet instrument in Venetian music. His greatest work is the Concerto in D Minor for oboe, strings, and continuo, with elaborate oboe passages that require skilled playing. The gorgeous second movement adagio is among the most heartfelt music ever written. The last two selections are works by Vivaldi: "Addio Caro" (Adieu My Love) for soprano, strings, and continuo, from his opera "La Verita in Cimento" of 1720; and his violin concerto in G, transcribed for organ in the key of F by J.S. Bach, the first movement of which is heard here. This varied music is performed by several instrumental and vocal groups and soloists very ably on this recording. Period instruments are used, with performance in the late renaissance and Baroque styles, characterized by less vibrato than in modern playing. The acoustical quality of the recording is exceptionally fine. The CD comes with an informative brochure that also features a few of the paintings and drawings from the exhibit. The ideal way to enjoy this music is while looking at the catalog of art works from the exhibit, but the CD makes for superb musical listening in its own right. It gives one the flavor of the creative musical atmosphere in Venice over three centuries, an atmosphere that influenced many French and especially German composers of the Baroque and succeeding musical periods. This is a wonderful recording, one that I recommend very highly." Report Abuse
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