Ludovico Balbi - Psalmi ad Vesperas Canendi per Annum Vol 1
£14.20
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Label: Tactus
Cat No: TC540201
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 1st September 2007
Contents
Works
Psalmi ad Vesperas Canendi per AnnumHymnus in Festo Confessorum
Fantasia VI toni
Toccata
Artists
Stefano Lorenzetti (organ)Schola Cantorum di Santa Giustina
Daphne Ensemble
Conductors
Alberto Da RosFabrizio Da Ros
Works
Psalmi ad Vesperas Canendi per AnnumHymnus in Festo Confessorum
Fantasia VI toni
Toccata
Artists
Stefano Lorenzetti (organ)Schola Cantorum di Santa Giustina
Daphne Ensemble
Conductors
Alberto Da RosFabrizio Da Ros
About
With this recording, Schola Cantorum of Santa Giustina Bellunese offers a wide view of the contents of the manuscript A.C.F.M.R. 16 preserved in the archives of the Feltre Cathedral entitled 'Ludovico Balbi/Magistri Cappellae Feltrensis/Psalmi ad Vesperas/Canendi/Per Annum', of which the complete transcription was published by Pro Musica studium in 2007.
It is the first of three CDs of the complete recording of psalms and magnificats contained herein. The manuscript is almost certain to be an only copy. In fact, no references are made in main repertoires, to other documents, which wholly or partially contain the same music, and it may be an autograph.
The verses in the figurative singing of the psalms and magnificats are performed in alternatim with those in cantus planus. This practice is applied also by alternating the performance of Balbi's verses to that of organ verses of the same period.
Stefano Lorenzetti's performance of the organ verses took place in the Callido of the Feltre Cathedral. Perhaps for the first time on a modern recording, it was decided that the practice of alternatim between the organ and polyphonic verses be reintroduced. This custom, widely attested to by sources of the same period, has recently been brought to the attention of scholars again by Arnaldo Morelli.
For the performance of the polyphonic verses, the Schola Cantorum followed the performance procedure of the period, which made use of white voices or acute male voices for the cantus part and only male voices for the inferior parts. In the performance of certain psalms an experimental doubling of parts with bowed instruments was desired, guided by the documented historical use of these instruments by the music chapel of the Feltre Cathedral in the second half of the 16th century.
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