While it may be historically disputed that the
Mass of the Pope Marcel allowed Palestrina to save polyphony as a liturgical chant type, it has been proven that Monteverdi passed his audition and was accepted as chapel director at St-Mark thanks to his mass
In illo tempore, which is presented here.
Considering the title – inspired by Gombert’s motet – it is no surprise that this mass was written in the style of the XVIth century, of which it is however the “swan’s song”. No opera tricks here, no trace of the madrigal composer. Dedicated to Pope Paul V, it is obviously a liturgical piece ; Monteverdi intended it to be prayed on, to elevate the soul, and as one listens to the musical beauties he displays, the goal has been reached.
Cavalli has in common with Monteverdi the fact that he succeeded him at St-Mark. Despite the generation gap – and the difference in style – one might expect an abundant mass with many instruments. Nothing of the sort. In 1675, Cavalli was close to his dying day. This mass of requiem is his “swan’s song”, a deep mass, a cappella, with 8 voices and organ accompaniment only. But there’s nothing tragic in that mass. The picture of the hereafter does not appear clearly in the writing, as it does in Victoria’s Requiem. Here, solemn tones seem to dominate, alterned with meditative periods (
Christe, Agnus Dei).
The interpretation by the
Cantica Symphonia, directed by Giuseppe Maletto, is first-rate. We may not share M. Maletto’s opinion of the story concerning Monteverdi’s mass, as expressed in the disk booklet, but it detracts nothing from the high quality of this disk, in the piece itself as well as in the interpretation.
Contents
Monteverdi : Messe a cappella à 6 voix sur le motet In illo tempore de Gombert
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Kyrie (4'18)
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Gloria (7'06)
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Credo (10'02)
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Sanctus (3'42)
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Agnus Dei (6'32)
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Cavalli : Messe des défunts à 8 voix - Introïtus : Requiem (4'28)
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Kyrie (3'34)
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Dies irae (18'54)
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Offertorium : Domine Jesu Christe (4'39)
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Sanctus (2'58)
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Agnus Dei (3'50)
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Responsorium : Libera me (6'05)
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Kyrie eleison (3'35)
Extracts
Track 1
Track 2
Track 5
Track 6
Track 7
Track 8
Track 10