Valentin Molitor - Motets
£15.15
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Label: Pan Classics
Cat No: PC10313
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 24th November 2014
Contents
Works
Beata es Virgo MariaBeatissimae Virginis Mariae nativitatem
Magnus Dominus
Nunc dimittis servum tuum Domine
O Maria Mater Dei
Plangite mortalis
Sancta et immaculata virginitas
Suscepimus Deus misericordiam tuam
Suscipe verbum Virgo Maria
Tota pulchra es amica mea
Viderunt omnes fines terrae
Artists
Daniela Dolci (organ)Basler Madrigalisten
Musica Fiorita
Conductor
Daniela DolciWorks
Beata es Virgo MariaBeatissimae Virginis Mariae nativitatem
Magnus Dominus
Nunc dimittis servum tuum Domine
O Maria Mater Dei
Plangite mortalis
Sancta et immaculata virginitas
Suscepimus Deus misericordiam tuam
Suscipe verbum Virgo Maria
Tota pulchra es amica mea
Viderunt omnes fines terrae
Artists
Daniela Dolci (organ)Basler Madrigalisten
Musica Fiorita
Conductor
Daniela DolciAbout
The Epinicion Marianum ('Song of Praise to the Virgin Mary') by Valentin Molitor, published in 1683, contains a total of 18 motets. The collection comprises music for six feasts of Our Lady of the liturgical calendar. Two five-part motets and a solo motet were intended for each feast, always with two obbligato violins and other instruments ad libitum. On this recording, a selection of pieces for all feasts can be heard.
The volume was probably published on the occasion of Molitor’s appointment as First Cantor of St Gallen Monastery, where the use of instruments in the liturgy was particularly restricted. From 1645, performing concertante music was only permitted at special festivities. Father Molitor appears to have counteracted this conservative tendency, with the first collections of a local composer written in concertante style, as well as the first to be printed at the Monastery.
The harpsichordist and leader of the ensemble Musica Fiorita, Daniela Dolci (a native of Sicily), studied early music at the Schola Cantorum Basiliensis in Basel, specialising in historical keyboard instruments. Subsequently she went to Amsterdam, for further training with Gustav Leonhardt. Her main focus is the historical basso continuo practice, based on 17th and 18th century sources.
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