Composer: Giovanni Paolo Cima, Alessandro Grandi, Giovanni Rovetta, Francesco Cavalli, Antonio Bertali, Bartolomé de Selma y Selaverde, Dario Castello, Claudio Monteverdi, Giovanni Battista Riccio, Giovanni Battista Fontana, Tarquinio Merula, Giuseppe Scarini, Bartolomeo Barbarino
Performer: Ecco la musica, Gerlinde Sämann
Format: FLAC (tracks)
Size: 416 MB
Cima: Concerti ecclesiastici
01. No. 50, Sonata à 4
Grandi: Motetti con sinfonie, Book 1
02. No. 8, Salve Regina
Rovetta: Salmi concertati, Op. 1
03. No. 18, Canzon seconda à 3
Cavalli: Cantate Domino
04. Cantate Domino
Bertali: Sonata a 2 in D minor
05. Sonata à 2 in D Minor
Selma y Selaverde: Canzonie, fantasie et correnti
06. No. 22, Canzon No. 12
Castello: Sonate concertate in stil moderno, Book 2
07. No. 14, Sonata à 4
Monteverdi: Messa a quattro voci et salmi concertati
08. No. 4, Confitebor tibi, Domine, SV 193
Riccio: Divine lodi musicali, Book 3
09. No. 39, Sonata à 4
18 Fontana: Sonatas in 1, 2, 3 Parts
10. No. 2 in D Major
Castello: Sonate concertate in stil moderno, Book 1
11. No. 6, Sonata à 2
Merula: Motetti e sonate concertati, Op. 6
12. No. 20, Favus distillans à 4
Scarini: Sonate concertate a due e tre voci, Book 1
13. No. 18, Sonata sopra “La novella”
Barbarino: Ave dulcissima Maria
14. Ave dulcissima Maria
In the early summer of 1630, Venice was struck by the plague for the last time and in a devastating way. The plague raged for 18 months and killed almost 50,000 people, more than a third of the population at the time! Doge Nicolo Cantarini vowed to build a large church for the deliverance from the plague, and even though he was unable to experience it himself, this vow was carried out.
With the Santa Maria della Salute, one of the most magnificent churches in the city was built. Since the year of liberation in 1631, the festival in honour of ‘Saint Mary of Health’ has been celebrated every year in November.
The ensemble ecco la musica has set out to find out what the music of the first Festa della Salute in 1631 might have sounded like, combining what already existed with what was new at the time and commemorating the composers who died.
With the end of the epidemic, there was also a musical change, from the wind-dominated polychoral music of Gabrieli, which had attracted all the important musicians to the Serenissima, to the style of the seconda prattica of Monteverdi and his successors with solo singers and virtuoso string accompaniment.
These young modern composers now aspired from the city to the European courts, where they were welcomed with open arms.