Galuppi: Messa per San Marco, 1766 /Athestis Chorus * Academia de li Musici * Bressan

Davide Malvestio (Artist), Ferdinando Bertoni (Artist), Baldassare Galuppi (Artist), Filippo Maria Bressan (Artist), Academia de li Musici (Artist), Karin Selva (Artist), Mariachiara Chizzoni (Artist), Patrizia Vaccari (Artist), Vincenzo di Donato (Artist), Athestis Chorus (Artist) | Format: Audio CD

Product Details

• Audio CD (November 11, 2003)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Chandos
• ASIN: B0000DIGLC
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #53,051 in Music (See Top 100 in Music)

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3 of 3 people found the following review helpful:

5.0 out of 5 stars a voice teacher and early music fan, February 24, 2011

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George Peabody "Ariel" (U.S.A.) - See all my reviews
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This review is from: Galuppi: Messa per San Marco, 1766 /Athestis Chorus * Academia de li Musici * Bressan (Audio CD)

"IT TAKES TWO TO TANGO"

And at St. Mark's in Venice (1966), it took two composers to compose a Mass that could be adapted not only to the requirements of worship, but also to conditions more peripheral to the performance: the Kyrie had to be composed by the 'first organist'(Ferdinando Bertoni,1725-1813), the Gloria and Credo by the 'maestro di cappella' (Baldassarre Galuppi, 1706-1785). The Sanctus and Agnus Dei were replaced by preferably a Motet and an instrumental composition.

Filippo Maria Bressan, and his forces have combined Galuppi's Gloria and Credo with other vocal and instrumental pieces which may have been performed on such an occasion (Christmas), creating a musical program of interest to early music lovers and academics. this disc also contains the premiere recording of Galuppi's portion of the Mass.

Since sources for Galuppi are very meagre, it was decided to bracket the three parts of the ordinary of the Mass with two of his extant instrumental works; namely two Concerti a Quattro taken from a manuscript in Estance Library in Modena. Galuppi wrote an odd-numbered set of seven of these Concerto a Quattro. Though ostensibly for string orchestra, they can also be played by a chamber orchestra. On this disc they are ably performed by the Academia de li Musici, an ensemble consisting of 18 strings, 5 woodwinds, 4 brass and organ. Using early instruments and applying period performance practice, this group draws upon some of the best Italian musicians under the capable direction of Bressan, a notable early music authority.

There is a marked difference in the quality of Bertoni's music when compared to Galuppi'. Bertoni's Kyrie, to my ears, is somewhat simplistic and less substantial than the Gloria and Credo that follows it. However, it was pleasant sounding and provided some enjoyable moments. Galuppi's music, on the other hand, was interesting at the onset, and continued to be so throughout the recording. One of the most attractive aspects of Galuppi's music is the contrast both in keys, textures and orchestration.

In the 'Domine Deus' of the Gloria there is a dotted eighth sixteenth note rhythm (skipping rhythm)that permeates the entire section, first presented by the orchestra, and continuing with a luscious duet sung magnificntly by soprano Mariachira Chizzoni and Roberto Balconi. An interesting instrumental effect is the sound of the flutes carrying on the same rhythm pattern via grace notes. The resulting scenario seems 'Disney-like' actually reminding me of the countertenor solo at the beginning of the opera 'Giustino' sung by Michael Chance, although certainly not the same in its specifics, but nonetheless presenting the same 'mood'.

Another high point in the Gloria is the 'Qui tollis peccata mundi' with its sombre minor smoothly orchestrated sound(Balconi solo). I have to say that Balconi was terrific in all of his 'spots' throughout the recording. His voice was strong, mellow with a richness that I have not heard from him prior to this performance.

Except for Roberto Balconi, all of the soloists are members of the Athestis Chorus, a group of eighteen singers. Most of the solo voices were engaging, though some more impressive than others. The tenor soloist Vincenzo di Donato, although interpreting well, had a very light sound with limited resonance. The duet 'Qui tollis peccata mundi' for male alto and baritone was very well delivered by Balconi and Davide Malvestio, baritone. The most intense, indeed operatic singing, was produced by Balconi and Nicola Marchesini, both male altos who sang 'Crucifixus etiam pro nobis'. Indeed Marchesini's vibrato was so wide I could have swum through it. Actually it was most entertaining. (I felt like I was at the 'Met'.) The Athestic Chorus had much singing throughout the disc and acquitted themselves very well: good balance of parts, clear diction, proper emotional involvement and a buoyant forward moving sound.

Although Galuppi is famous primarily for his operas, this disc certainly reveals him as a composer of devotional music of great beauty, for this Mass is very melodious filled with delightful moments.

BBC MUSIC MAGAZINE:"I've never heard better-focused intonation from singers and period instruments than this."

HISTORIAN CHARLES BURNEY after visiting Galuppi recorded these impressions: "...this ingenious, entertaining and elegant composer abounds in novelty, in spirit and in delicacy."

SOME TRIVIA ABOUT GALUPPI: Around 1847 the poet Robert Browning wrote a clever and humorous ode about Galuppi's music, especially his keyboard works. It is entitled 'A Toccata of Galuppi's.

3 of 3 people found the following review helpful:

5.0 out of 5 stars Welcome to the Galuppi Collective!, November 1, 2008

By 

Giordano Bruno (Wherever I am, I am.) - See all my reviews
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This review is from: Galuppi: Messa per San Marco, 1766 /Athestis Chorus * Academia de li Musici * Bressan (Audio CD)

Baldassare Galuppi (1706-175) had a decent job in Venice for most of his life, the kind of job that provided "defined benefits" - just the sort of job that our neo-conservatives strive mightily to eliminate in America. He worked for the commune of La Serenissima, as Venice called itself. He was the maestro di cappella at St. Mark's Cathedral, and the government of the city-state controlled church appointments, a thoroughly attractive mode of operation. One of Galuppi's benefits was a paid sabbatical of three years at the court of Elizabeth II in St. Petersburg. While he was away, nevertheless, he was still responsible for the composition of a Christmas Mass, and Venice had a spectacular Christmas celebration scheduled for 1766. This CD is a recreation of the music performed at that service in St. Mark's.

Galuppi didn't have to write the whole mass, however. Within the commune of musicians that ran things at St. Mark's, there were traditional divisions of labor. Galuppi was expected to compose the Gloria and the Credo, while his chief assistant was required to compose the Kyrie. That assistant, Ferdinando Giuseppe Bertoni (1725-1813), performed his duties right dutifully in hopes of eventually succeeding Galuppi as maestro. That was in fact what happened. The mass in Venice allowed for the substitution of instrumental music for some elements of the liturgy; this performance includes two short 'concerti a quattro' for strings and winds, written by Galuppi.

Galuppi has been, dare I say, a neglected and underrated composer for too long, lost in the shadow of Antonio Vivaldi. The Gloria and Credo performed here are bold, sumptuous music, not flimsy rococo elevator sound track stuff. It's interesting that the Kyrie by Bertoni, a workmanly piece of music, while plainly of the Venetian school, has such obvious traits of the "next generation."

Even today, Venice is something of a closed musical world. For that reason, I haven't listened to the performances of conductor Filippo Maria Bressan quite enough. He does an impressive job of interpreting these concerti and mass movements. His period instrument orchestra handles Galuppi's harmonic subtleties with aplomb, and his Athestis Chorus - nineteen voices - is tight enough in ensemble to sound like a smaller group. (That's a compliment where I come from, musically.) That makes this CD a double discovery for me as a listener: a composer of greater skill than I supposed, and a chorus that can SING rather than bellow.