Dear Sir/Madam!
We are glad to share with you the information:
The CD "Suscepimus" is out now!
You can order this disc via e-mail, SMS and via post.
The price is: 2500 forint/10 Eur + postage[1] .
You can pay with COD (collection on delivery) or by remitting via bank.
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Contact:
Name: Collegium Musicum Jaurinense Régizene Egyesület
Adress: 9022 Győr, Széchenyi tér 9.
TEL.: +36-30/454-25-75
E-mail: office@collegiummusicum.hu
WEB: www.collegiummusicum.hu
[1] :You just have to pay postage if you get our CD via post (490ft/2 Eur).
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Collegium Musicum Jaurinense
"Suscepimus"
About the CD
Giacomo Carissimi (1605-1674) is more commonly known as a composer of oratories and we know very little about his masses although there are five masses that have survived under his name. Nevertheless, it is also true that we do not have the composer’s manuscripts for these masses. After the Jesuit order dissolved in 1773 / After the dissolution of the Jesuit order in 1773, Carissimi’s manuscripts as well as his grave were destroyed.
Missa Concertata is a composition of five parts with basso continuo. The parts of three singers and two instrumentalists have their own lives within the work; the instruments being separate from the singing parts. Homophone parts (those intended for the chorus) and imitation parts (those of a rather solo character) alternate with almost charming irregularity in nearly every movement. It is an exceptionally rare phenomenon that texts in a mass are composed as recitatives. Nevertheless, it is found twice in Carissimi’s Missa Concertata: in movements Gloria and in Credo. Carissimi separates the individual movements with Symphonia, i.e. instrumental intermezzi. In our interpretation we strived to join these intermezzi smoothly to the texts in their vicinity both in terms of instrumentation and performance. We did so after the unusually stormy movement Crucifixus. Here we were intent on expressing the elating peacefulness that was so characteristic of masses that Carissimi’s contemporaries composed. We hope that the dramatic contrast of the subsequent Et resurrexit is fully provided (for) this way.
Missa Concertata posed a considerable challenge to the secondary school male students who sing in the present recording. There are solo-positions that can cause immense technical task even to the most professional of singers. The members of Collegium Musicum managed these with such bravura that exceeds what can be expected from a teenage boy. As opposed to the editor’s instructions, not every imitation part is performed by soloists. The main reason for this is that we did not intend to fracture movements too much and we considered that it would be more fortunate if some imitations were performed by the chorus. Of course, there are some incidentals remaining in the solo-positions. However, these can be excused considering the fact that it is talented secondary school students and not professional singers who work with Collegium Musicum. This is not a high-purity recording. It is designed rather to reflect the practice of musical performances of Carissimi’s time. Back in the 17th century the actual performance of a musical work was (being) adjusted to the features and possibilities of an already existing ensemble that have/had been playing music in a regular service together and not vice versa, i.e. the number and person of the performers were not defined according to the actual piece of music.
The sources of the Gregorian movements are the liturgical books edited by the of St. Peter's Abbey, Solesmes. As opposed to the practice of performance at Solesmes, however, we wished to highlight the qualities of the genres which the individual movements belong to. We decided on solo or tutto instrumentation alongside these characteristics. Solo-positions were preferred in movements where they were demanded by the characteristics of the actual genres and by the presumable way of performance that have its origins in the first Christian centuries. In our recording he proprium-movements of the mass of/on the 8th Sunday after Whit Sunday can be heard.
The movements of the chorus are framed by organ pieces as well as they are when performed live. Michelangelo Rossi (1602-0656) was Carissimi’s contemporary and lived similarly to the composer of Missa Concertata in
Kelemen Áron