Giacomo Carissimi - Cantata e Messa ‘Sciolto Havean Dall'Alte Sponde’ (2012)

01. Messa - Kyrie I 
02. Messa - Sinfonia I 
03. Messa - Christe 
04. Messa - Sinfonia II 
05. Messa - Kyrie II 
06. Messa - Sinfonia III 
07. Messa - Gloria 
08. Messa - Officium, Mottetto Suscitavit Dominus 
09. Messa - Credo 
10. Messa - Offertorium, Mottetto Exurge cor meum 
11. Messa - Sanctus 
12. Messa - Agnus Dei 
13. Messa - Communio, Mottetto Ardens est cor nostrum 
14. Messa - Ite, missa est 
15. Cantata - Sciolto havean dall'alte sponde 
16. Cantata - Eran lingue di tormento 
17. Cantata - Amor non più 
18. Cantata - Due pupille che son nere 
19. Cantata- Non sperar, folle mio core 
20. Cantata- Su guancia di rosa 
21. Cantata- Amor non più, non più 
22. Cantata- Udite, udite, Amanti 
23. Cantata- Fosco vel copra le stelle 
24. Cantata- Senza sperme di mercede 
25. Cantata- Chi d'Amor soffre i martiri 
26. Cantata- A miel danni, a ma rovina 
27. Cantata- Chi d'Amor soffre i martiri 
28. Cantata- Tacquer gl'Amanti a pena 
29. Cantata- Amanti, che dite

Le Institutioni Harmoniche 
Marco Longhini - director

The works of Giacomo Carissimi, the giant of the early Italian Baroque outside the realm of opera, are finally receiving recordings beyond his bona fide masterpiece, the oratorio Jephte. The unusual pair of works presented here has also been recorded by the French early music group La Fenice. The Missa Sciolto havean dall'alte sponde is a very late example of the parody mass, a setting of the mass based on music from an existing work, which may be secular and in this case is. The parody mass was a common procedure in the Renaissance, but must have been a novelty in Carissimi's time. The secular work in question is a cantata, Sciolto havean dall'alte sponde, of 1653, depicting a pair of lovers on a storm-tossed sea. The pairing is a fascinating one, offering plenty of insights into how composers of this era thought about representations of the sacred and the secular in music; symbolism travels from cantata to mass, but fundamental changes are made to the material of the cantata, as well, first and foremost its adaptation from a setting for two sopranos, baritone, and continuo to a five-part vocal setting with strings and continuo. The recording here by Le Istituzioni Harmoniche, Verona, under Marco Longhini is bigger in its dimensions, especially in the mass, than that by La Fenice; one imagines this performance being sung in a cathedral (or, in the case of the cantata, in an elaborate garden of a Renaissance palazzo), whereas the La Fenice version evokes a smaller room with a group of musically informed listeners. Another difference is that this disc presents the mass in a sequence of events appropriate to its time, with chant incipits and a few motets by Carissimi (for various forces) inserted into the mass to serve as its Proper sections. (La Fenice uses the extra room to offer an additional work instead.) To an extent the choice between the two is a matter of preference, but for many listeners the intimate atmosphere of the La Fenice disc and the fabulous sensitivity of its singers will better communicate the dramatic touches in Carissimi's settings. ---James Manheim, Rovi

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