Classic 107 - Winnipeg's classical and jazz radio station.

Host Simeon Rusnak will feature the beautiful music of Bach, Gabrieli, Merulo, de Lassus and more! Tune in Easter Sunday starting at 7AM

Commencing at 7:00 AM it's  a Venetian Easter Mass.AVenetianEaster

Reviewed by Gramophone 's Tess Knighton she writes:

This recording from the Gabrieli Consort and Players follows the now familiar format in their recordings of a ‘liturgical’ reconstruction – not an actual celebration of Mass, but a selection of musical items presented in a sequence such as might have pertained to a specific feast in a particular location. This time we're whisked back to St Mark’s, Venice, for an Easter Mass as it might have been celebrated around 1600. Familiar territory for the Gabrieli Consort and Players, of course, although for this recording the centrepiece is not a work by a Venetian composer, but rather the Missa Congratulamini mihi by Orlande de Lassus, whose music was included in the international repertory copied – and presumably performed – at St Mark’s.

Works on This Recording

1. Toccata prima del quinto tono by Claudio Merulo
Performer: Timothy Roberts (Organ)
Period: Renaissance
Written: 16th Century; Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Notes: An excerpt from this work is performed.

2. Maria stabat ad monumentum by Andrea Gabrieli
Performer: Donald Greig (Baritone), Charles Pott (Baritone), Julian Podger (Tenor), Steven Harrold (Tenor),Robert Harre-Jones (Countertenor),Timothy Roberts (Organ),Francis Steele (Bass)
Period: Renaissance Written: 1587; Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

3. Quem quaeritis by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

4. Tocada con vitoria by Cesare Bendinelli
Performer:Adrian Tribe (Trumpet),David Staff (Trumpet),Adrian Lane (Trumpet),Douglas Kirk (Trumpet),
Simon Gunton (Trumpet), Susan Addison (Trumpet)
Conductor:Paul McCreesh
Orchestra/Ensemble:Gabrieli Players
Period: Renaissance Written: Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England

5. Surrexit Christus by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

6. Resurrexi et adhuc tecum sum by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

7. Intonationi d'organo: Del quinto tono by Andrea Gabrieli
Performer: Timothy Roberts (Organ)
Period: Renaissance Written: by 1593; Venice, Italy
Date of Recording: 09/1996 Venue:Ely Cathedral, Cambridgeshire, England

8. Dominus vobiscum by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue:Ely Cathedral, Cambridgeshire, England
Language: Latin

9. Canzoni et sonate (21): Canzon VIII a 8 by Giovanni Gabrieli
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Players
Period: Renaissance Written: Venice, Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England

10. Victimae paschali laudes by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue:Ely Cathedral, Cambridgeshire, England
Language: Latin

11. Evangelium by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue:Ely Cathedral, Cambridgeshire, England
Language: Latin

12. Hic est filius Dei by Giovanni Gabrieli
Performer: Robert Harre-Jones (Countertenor), Simon Grant (Bass),Angus Davidson (Countertenor)
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Players
Period: Renaissance Written: Venice, Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

13. Preface by Anonymous
Performer: Simon Grant (Bass), Robert Harre-Jones (Countertenor),Angus Davidson (Countertenor)
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

14. Sacrae symphoniae, Book 1: Sonata octavi toni a 12 by Giovanni Gabrieli
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Players
Period: Renaissance Written: by 1597; Venice, Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England

15. Pater noster by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

16. Canzoni et sonate (21): Canzon XVII a 12 by Giovanni Gabrieli
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Players
Period: Renaissance Written: Venice, Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England

17. Postcommunion by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

18. Ite missa est by Anonymous
Conductor:Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

19. Humilitate vos ad benedictionem by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

20. Illustrissimus et Reverendissimus in Christo pater by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

21. Regina coeli by Giovanni Gabrieli
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Renaissance Written: 1597; Venice, Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

22. Gaude et laetare by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

23. Toccata settima del ottavo tono by Claudio Merulo
Performer: Timothy Roberts (Organ)
Period: Renaissance Written: 16th Century; Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Notes: An excerpt from this work is performed.

24. Dulcis Jesu patris imago by Giovanni Gabrieli
Performer:Rodrigo Del Pozo (Tenor), Robert Evans (Baritone)
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Players
Period: Renaissance Written: Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

25. Surrexit Christus by Giovanni Gabrieli
Performer: Simon Grant (Bass), Robert Evans (Baritone),Rodrigo Del Pozo (Tenor)
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Players
Period: Romantic Written: 1615; Venice, Italy
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

26. Missa "Congratulamini mihi": Kyrie by Orlando de Lassus
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Renaissance Written: circa 1564
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

27. Missa "Congratulamini mihi": Gloria by Orlando de Lassus
Conductor: Paul McCreesh
Orchestra/Ensemble:Gabrieli Consort
Period: Renaissance Written: circa 1564
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

28. Expurgate vetus fermentum by Anonymous
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Medieval
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

29. Missa "Congratulamini mihi": Sanctus by Orlando de Lassus
Conductor:Paul McCreesh
Orchestra/Ensemble:Gabrieli Consort
Period: Renaissance Written: circa 1564
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

30. Missa "Congratulamini mihi": Agnus Dei by Orlando de Lassus
Conductor: Paul McCreesh
Orchestra/Ensemble: Gabrieli Consort
Period: Renaissance Written: circa 1564
Date of Recording: 09/1996 Venue: Ely Cathedral, Cambridgeshire, England
Language: Latin

Then  at 8 AM Simeon will have Bach's Easter Oratorio.

 

This is the third work for which Bach employed the term "Oratorioum", the other two being the Christmas Oratorio and the Ascension Oratorio. None of these works is dramatically dissimilar to what Bach calls in other situations "cantata", except that the Christmas Oratorio is actually a set of six distinct cantatas.

In modern times, we tend to think of an oratorio as a sort of sacred opera, in that there are distinct characters, a clear story being told through the text and music, a longer length than cantatas and other sacred works, and a rather dramatic feel to the music. But this impression comes primarily from the English Oratorios of Bach's contemporary, Georg Friedrich Handel.

The 18th-century German oratorio developed at the same time as opera in Hamburg and Dresden, and used a biblical subject and sometimes even a biblical text.

The music of the Easter Oratorio originated in 1725 in Bach's cantata Entflieht, Verschwindet, entweich ihr Sorgen, which was written for the birthday of Duke Christian of Saxe-Weissenfled. It was transformed a mere month later - using newly composed recitatives and new text (probably by Picander) - into an Easter cantata. The following year, Bach morphed the cantata once again for a birthday celebration, this time for Count Joachim Friedrich von Flemming (BWV 249b), before it finally emerged in 1735, reworked and expanded as the Easter Oratorio. (See Simon Heighes, in The Oxford Companion to Bach, "Easter Oratorio".)

The present work, the Easter Oratorio, is longer than an average Sunday cantata, numbering eleven movements and lasting approximately 40 minutes, depending on the tempos during the performance. The instrumentation is also large, including the usual strings and continuo, but also three trumpets, timpani, two oboes, bassoon, two flutes, and one oboe d'amore. (The flutes and oboe d'amore are used in some interior movements, whereas the trumpets and timpani - always appearing together - are used in the opening and closing.)

Unlike the Christmas Oratorio, the Easter Oratorio has no narrator but has four characters assigned to the four voice parts: Simon Peter (tenor) and John the Apostle (bass), appearing in the first duet hurrying to Jesus' grave and finding it empty, meeting there Mary Magdalene (alto) and "the other Mary", Mary Jacobe (soprano). The choir was present only in the final movement until a later performance in the 1740s when the opening duet was set partly for four voices. The music is festively scored for three trumpets, timpani, two oboes, oboe d'amore, bassoon, two recorders, transverse flute, two violins, viola and continuo.

The oratorio opens with two contrasting instrumental movements, an Allegro concerto grosso of the full orchestra with solo sections for trumpets, violins and oboes, and an Adagio oboe melody over "Seufzer" motifs (sighs) in the strings.

The first duet of the disciples was set for chorus in a later version, the middle section remaining a duet. Many runs illustrate the movement toward the grave.

Saget, saget mir geschwinde, the aria of Mary Magdalene, is based on words from the Song of Songs, asking where to find the beloved, without whom she is "ganz verwaiset und betrübt" (completely orphaned and desolate), set in the middle section as Adagio, different from the original. The words are close to those opening Part Two of the St Matthew Passion.

 

 

The final movement in two contrasting sections resembles the Sanctus composed for Christmas 1724 and later part of the Mass in B minor.

 

 Sources: https://en.wikipedia.org/wiki/Easter_Oratorio

                  http://www.bach.org/bwv249.php

 

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