Gesualdo da Venosa: Sacrarum cantionum quinque vocibus Odhecaton & Paolo Da Col

• 1 O vos omnes 02:46
• 2 Consonanze stravaganti 02:07
• 3 Domine, ne despicias deprecationem meam 02:15
• 4 Sancti Spiritus, Domine 01:45
• 5 Exaudi, Deus, deprecationem meam 02:30
• 6 Venit lumen tuum 02:29
• 7 Illumina faciem tuam 02:58
• 8 Intrata d'organo 02:57
• 9 Maria, Mater gratiae 03:01
• 10 Precibus et meritis 02:21
• 11 Ave, dulcissima Maria 03:50
• 12 Dignare me laudare te 01:46
• 13 Ave Regina cœlorum 03:02
• 14 Ave Maris stella 01:53
• 15 Hei mihi Domine 02:57
• 16 Tribulationem et dolorem 03:10
• 17 Peccantem me quotidie 03:53
• 18 Reminiscere miserationum tuarum 03:14
• 19 Tribularer si nescirem 03:26
• 20 Laboravi in gemitu meo 02:11
• 21 Deus, refugium et virtus 02:35
• 22 Consonanze stravaganti 02:20
• 23 O Crux benedicta 03:01
• Total Runtime 01:02:27

Info for Gesualdo da Venosa: Sacrarum cantionum quinque vocibus

Although the madrigals of Carlo Gesualdo da Venosa constitute the best-known part of his oeuvre, his religious music is no less important, revealing a completely different facet of the composer. Aside from the Responsoria (1611), of which Philippe Herreweghe recently made a magnificent recording, most of Gesulado’s religious music was published in 1603 under the title Sacrarum cantionum. Unlike the Responsoria, intended for Holy Week services, the motets of 1603 are settings of texts for all circumstances of the liturgical year. For this recording, made in the Santa Trinità abbey church in Venosa, Odhecaton has enriched the sound palette of its men’s voices with a few instruments, including an ensemble of violas da gamba. Liuwe Tamminga counterpoints this programme with selected pieces by Giovanni Maria Trabaci and Giovanni de Macque on an historical organ of the Venosa region.

Alessandro Carmignani, counter-tenor
Andrea Arrivabene, counter-tenor
Gianluigi Ghiringhelli, counter-tenor
Renzo Bez, counter-tenor
Alberto Allegrezza, tenor
Gianluca Ferrarini, tenor
Vincenzo Di Donato, tenor
Paolo Fanciullacci, tenor
Marco Scavazza, baritone
Mauro Borgioni, baritone
Davide Benetti, bass
Marcello Vargetto, bass
Andrea Inghisciano, cornet
Marta Graziolino, harp
Giangiacomo Pinardi, lute
Michele Pasotti, theorbo
Ensemble Mare Nostrum
Andrea De Carlo, conductor, viol
Amélie Chemin, viol
Sarah van Oudenhove, viol
François Joubert-Caillet, viol
Liuwe Tamminga, organ
Paolo Da Col, conductor and direction

Recorded at Sacrarum Cantionum: October 2013, Venosa, Abbazia della SS. Trinità
Organ pieces: October 2013, Molfetta, Chiesa di San Bernardino
Artistic direction, recording & editing by Jérôme Lejeune

Odhecaton
The Italian vocal ensemble Odhecaton (pronounced Oh-DE-kah-tohn) owes its name to the first printed book of polyphony, published in 1501 by Ottaviano Petrucci in Venice, Italy: ‘Harmonice Musices Odhecaton’. The word Odhecaton is derived from the Greek words: odè (meaning ‘song’) and ècaton (meaning ‘100’). Harmonice Musices Odhecaton was a collection of some 100 songs.

The name was chosen for the Italian vocal ensemble largely because of its core repertoire, which encompassed the work of French and Flemish composers during the Italian musical renaissance of the 15th century, notably Jacob Obrecht, Josquin Desprez, and Loyset Compère. Since the group’s debut in 1998, the repertoire has grown to include early and contemporary works by a large spectrum of composers.

Directed by Paolo Da Col, Odhecaton brings together some of the best Italian male voices specialized in the performance of Renaissance and baroque music.

The ensemble has made recordings dedicated to the music of Gombert, Isaac, Josquin, Peñalosa and Compère, and has helped rediscover the repertoire of 17th-century Spanish and Portuguese composers active in the Canary Islands. These programmes have led to appearances in Europe's leading festivals, and won them important recognition in the world of recording: 'Diapason d’or de l’année', '5 diapasons','Choc' (Le Monde de la Musique), 'Disco del mese' (Amadeus and CD Classics), and 'Cd of the Year' (Goldberg).

Beyond its central repertoire, Odhecaton has also presented a semi-staged production of Orazio Vecchi’s Amfiparnaso (directed by Enrico Bonavera, with scenery by Lele Luzzatti), and a production of sacred music by Gesualde da Venosa. From 2008 forward, Odhecaton paid particular attention to the music of Palestrina, and recently released a recording of Roland de Lassus. The group also works occasionally with instrumentalists specialized in their repertoire, including Bruce Dickey and Concerto Palatino, Gabriele Cassone, Liuwe Tamminga, Paolo Pandolfo, Jakob Lindberg, La Reverdie, and Andrea De Carlo with Ensemble Mare Nostrum.

Paolo Da Col
completed his musical training at the Conservatorio of Bologna and his musicological studies at the Università Ca’ Foscari of Venice and the Centre d’Études Supérieures de la Renaissance of Tours. From a very early age he has devoted his attention to the Renaissance and preclassical polyphonic repertoire, constantly combining the demands of research and performance.

He has been the director of the journal L’Organo (together with Luigi Ferdinando Tagliavini) and of the music catalogue of the Forni publishing house of Bologna.

He has worked as a music critic, edited publications of instrumental and vocal music, and authored catalogues of musical collections and studies on the history of vocal music. He is presently librarian of the Conservatorio of Venice.

Booklet for Gesualdo da Venosa: Sacrarum cantionum quinque vocibus