Merulo: Organ Alternatim Masses

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Composer: Claudio Merulo
Artists: Federico Del Sordo (organ), Nova Schola Gregoriana, In Dulci Jubilo, Alberto Turco (director)
Though Federico del Sordo is joined by two Veronese choirs to impart coherence to these Mass settings, this release is all about the organ - both the particular instrument in question in Verona Cathedral, and Claudio Merulo’s mastery of the language fostered by such an instrument, its particular tuning and colours which are so far removed from the principles of the Gothic organ style prevalent ever since the time of Bach. What may sound to modern ears ‘out of tune’ is the mean-tone temperament which lends a golden, antique sheen to both celebratory flourishes and devotional reflections as each phrase of the Mass unfolds, with an archaic splendour all its own.
Not least thanks to his longevity and prolific output of madrigals, masses and motets in the mature Venetian style, Claudio Merulo (1533-1604) is the most-extensively represented composer of his era on record, though mostly of shorter toccatas, canzoni and ricercari. These three Mass settings were published in 1568 and date from his 27-year-long tenure as master of music at the Basilica of St Mark’s in Venice, a post to which he had been appointed in 1557 at the tender age of 23, indicating the esteem in which he was already held by the Venetian musical establishment, and his music figured prominently in the exuberant musical celebrations of Venice’s military victory over the Turkish navy at Lepanto in 1571. After his death he was eulogised as the greatest keyboard musician of his age.
The organ masses alternate plainchant recitation of the text with freely elaborated fantasias on each statement or paragraph of the text; the surviving manuscripts are incomplete and have required careful reconstruction to recreate the magnificence of their original, intended effect among the Byzantine domes of St Mark’s, for which in this new recording the ample space of Verona’s 12th-century Duomo stands as a more than adequate replacement.
The cathedral’s main organ was built by Costanzo Antegnati (1565-1606), and restored by Barthélémy Formentelli in 1992. Previous recordings by Federico del Sordo on Brilliant Classics have included the works of Carlo Tessarini (BC94787), and sonatas by Veracini (BC94822).
Claudio Merulo (1533-1604) was an important composer, organist and publisher in Late-Renaissance Italy. He obtained the prestigious post of organist of the famous San Marco in Venice. His keyboard style is highly innovative, and was the basis of further development by composers like Frescobaldi and Sweelinck.
In his Masses Merulo alternates the choir and the organ in the different mass sections. The organ part starts out as a transcription of vocal polyphony but develops into ornamented fantasies of advanced virtuosity.
Beautifully sung by the famous Schola gregoriana “In Dulci Jubilo”, conducted by specialist Alberto Turco, recorded in the great acoustic of the Verona Cathedral. The historical organ played by Federico Del Sordo, is built by Costanzo Antegnati (1565-1606).
Tracklist in comments
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#ClaudioMerulo #FedericoDelSordo #Organ #NovaScholaGregoriana #InDulciJubilo #AlbertoTurco #Director #BrilliantClassics #Music #Composer #ClassicalMusic

[@BrilliantClassics]

Tracklist: 00:00:00 Claudio Merulo: Missa apostolorum: I. Kyrie 00:09:14 Claudio Merulo: Missa apostolorum: II. Gloria 00:23:18 Claudio Merulo: Missa apostolorum: III. Sanctus 00:27:50 Claudio Merulo: Missa apostolorum: IV. Agnus dei 00:30:28 Claudio Merulo: Missa in dominicis diebus: I. Kyrie 00:38:07 Claudio Merulo: Missa in dominicis diebus: II. Gloria 00:49:58 Claudio Merulo: Missa in dominicis diebus: III. Credo in Dominicis diebus 01:05:38 Claudio Merulo: Missa in dominicis diebus: IV. Sanctus 01:09:02 Claudio Merulo: Missa in dominicis diebus: V. Agnus dei 01:11:53 Claudio Merulo: Missa in dominicis diebus: VI. Ite, missa est 01:13:11 Claudio Merulo: Missa Virginis Mariae: I. Kyrie 01:19:28 Claudio Merulo: Missa Virginis Mariae: II. Gloria 01:38:40 Claudio Merulo: Missa Virginis Mariae: III. Credo in Dominicis diebus 01:57:38 Claudio Merulo: Missa Virginis Mariae: IV. Ricercar del quarto tuono 02:02:19 Claudio Merulo: Missa Virginis Mariae: V. Sanctus 02:06:14 Claudio Merulo: Missa Virginis Mariae: VI. Agnus dei 02:08:59 Claudio Merulo: Missa Virginis Mariae: VII. Canzona le scarampa 02:11:44 Claudio Merulo: Missa Virginis Mariae: VIII. Ite, missa est

[@torstivuorma2905]

Really briljant classic 🤗🙏

[@MenelionFR]

This is definitely brilliant classic, thank you so much!

[@giovanniguglieri5287]

Meravigliosa

[@federicodelsordo4133]

❤

[@dylangamble4810]

Slaps! Send it to print 🔥

[@renatonegri3871]

SUPERLATIVO! GRAZIE!

[@user-bf3hx4rf4v]

Good!!

[@lacolombe2534]

CLAUDIO MERULO { CORREGGIO 1533~1604 PARME } « ORGAN ALTERNATIM MASSES « Que c’est beau, magnifique interprétation musicale liturgique, avec ses Messes à l’orgue, de FEDERICO DEL SORDO et la NOVA SCHOLA GREGORIANA dirigé par ALBERTO TURCO, grandiose bravo. FEDERICO DEL SORDO, né à Rome en 1961, a terminé ses études musicales, diplômés en piano, composition en orgue, compositions en musique sacrée, directeur de chœur en musique sacrée, spécialisation en Sociologie, et en mouvements religieux et cours de spécialisation en maintien de la paix en études de sécurités doctorat en musicologie, bravo pour sa carrière musicale extraordinaire. ALBERTO TURCO, spécialiste du chant grégorien, est devenu directeur de l’établissement musical de la Cathédrale de Vérone en 1965. Il enseigne le chant grégorien au collège Pontificale ambrosien de musique sacrée de Milan et enseigne la musicologie liturgique à l’institut théologique de San Zeno de Vérone, ainsi que conférencier invitées à l’Institut Pontificale de musique sacrée de Rome et à divers congrès internationaux. ALBERTO TURCO est l’auteur de diverses études sur le chant grégorien et ambrosien et l’éditeur d’œuvres inédites de compositeurs de Véronèse. Il a dirigé de nombreux enregistrements et est devenu en 1981 directeur artistique de la NOVA SCHOLA GREGORIANA, prenant ensuite la direction de la SCHOLA GREGORIANA pour femmes à DULCI JUBILO en 1988. En 1987, la NOVA SCHOLA a reçu l’ORPHÉ D’OR de l’Académie nationale du disque lyrique de Paris, la Fondation JOSEPH CANTELOUBE. Bravo. CLAUDIO MERULO se rendit célèbre auprès de ses contemporains comme un interprète exceptionnel. L’un de ses élèves, le théoricien GIROLAMO DIRUTA {ca. 1554~1610}, décrit son jeu de clavier, et insiste sur l’importance que MERULO accordait à l’équilibre et à la force des doigts, ainsi qu’au legato. Comme compositeur, MERULO fit preuve d’une grande intelligence pour la construction. Il fut l’un des premiers de son époque, après les CAVAZZONNI, à dépasser le caractère d’improvisation, caractéristique des œuvres pour orgue, en créant des formes rigoureuses, dans lesquelles les éléments de virtuosité étaient étroitement liées à une volonté formelle. Ses pièces annoncent l’œuvre de GIROLAMO FRESCOBALDI {1583~1643} par la complexité de l’écriture et de l’intensité expressive. A partir de 1566, CLAUDIO MERULO fut éditeur de musique, et publia plusieurs recueils comprenant, outre ses propres pièces, des œuvres de GIACHES DE WERT {1535~1596}, PHILIPPE VERDELOT {ca.1480~ca.1532} et CONSTANZIO PORTA {1528 ou 1529~1601}. Il s’occupa également de facture d’orgue. Parmi ses élèves figurent FLORENTIO MASCHERA {1540~1584} et GIOVANNI BATTISTA MOSTO {ca.1550~1596}. Environ cinquante ans plus tard, l’un des petits-neveux de CLAUDIO MERULO, GIACINTO {1595~1650} fut également organiste et compositeur. Merci pour nous offrir ce moment de musique à l’orgue et ses voix exceptionnelles, et ses chefs-d’œuvre de ce grand compositeur du XVIe siècle CLAUDIO MERULO, avec FEDERICO DEL SORDO, la NOVA SCHOLA GREGORIANA de ALBERTO TURCO qui sont grandioses, que j’ai énormément aimé bravo.

[@Nicolas-zb9uw]

Prise de son exceptionnellement bonne ! Très agréable à écouter .

[@federicodelsordo4133]

Merci. FDS

[@josecharles7923]

👏👏👏👏👏

[@demostenessegundo]

Lindo demais.

[@Nicolas-zb9uw]

So beautiful , I bought the cd . Note : almost all written with perfect minor and major chords. No 7 th !

[@federicodelsordo4133]

Thanks a lot. FDS

[@Nicolas-zb9uw]

@@federicodelsordo4133 Hello Gent .Del Sordo . After many years playing German and French baroque organ music , last year , it was now time to go to a music I love but knew not much of : Italian Renaissance Music for keyboards. I thought it would be a good idea to start with Andrea Gabrieli. I first bought 2 books recommended by the seller. It was a shock like a love at first sight . I calm down and wait for a few days and then I bought the other 3 books of Complete Andrea G. keyboard pieces. I work out every page . Then ,someone told me to look for Fasolo. I went through the 5 books. Then , I went through all Salvatore, all Diruta ,then all Merulo ( he 's my favorite up to now . I went through all Ricercari and other works including the 135 pages of music : Canzoni . As soon as I'm through with Mass 3 and 4 ( in a month ) , I will have been all through Merulo 's work. Years ago , I had work a few pages of Zipoli,so I went through all the other pages and look again at those I had already learned.Meanwhile , on my bench there is a Luzzaschi , Banchieri and a Trabaci waiting . ( I have build up myself a wish list . In the next months , I should buy Antegnati, Padovano, Storace. And later on, I want to go to Jean De Macque , maybe even Faenza Codex , up to Pasquini. I think that Italian Renaissance organ music has been under estimated and played for years and that now it is time to share all this rich partrimoine with the whole world !

[@federicodelsordo4133]

​@@Nicolas-zb9uw Of course... I agree!! Performing this repertoire deserves to have an original (or copy) instrument wit appropriate temperament, in order to understand its deepness. Thank you very much for your commentary. Have a nice Easter Sunday. Federico Del Sordo

[@brigidvandermoezel7814]

what's wrong with 7th chords

[@joachimkelecom3918]

The organist sounds as if he's playing the keyboard with bloody mallets. It's not a carillon, you know.