Viadana: Sacri concentus The Viadana Collective, Maximilien Brisson & Iason Marmaras

• Lodovico Grossi da Viadana (1560 - 1627): Hodie nobis coelorum Rex, a 8 (Promptuarii musici, Pars Prima - Strasbourg, 1611:
• 1 Hodie nobis coelorum Rex, a 8 (Promptuarii musici, Pars Prima - Strasbourg, 1611: No. 18) 03:43
• Iason Marmaras (b. 1985): Toccata del decimo tuono (Improvisation):
• 2 Toccata del decimo tuono (Improvisation) 03:05
• Lodovico Grossi da Viadana: Il sangue a pena havesti, a 5 (Parte delli Pietosi affetti del Padre Angelo Grillo - Venice, 1598: No. 8):
• 3 Il sangue a pena havesti, a 5 (Parte delli Pietosi affetti del Padre Angelo Grillo - Venice, 1598: No. 8) 02:35
• Centum sacri concentus ab una voce sola:
• 4 Centum sacri concentus ab una voce sola: No. 77, Jubilate Deo 02:53
• Sinfonie musicali:
• 5 Sinfonie musicali: No. 12, Sinfonia "La Bergamasca" 04:20
• Centum sacri concentus ab una voce sola:
• 6 Centum sacri concentus ab una voce sola: No. 49, O stupor et gaudium 03:51
• 7 Centum sacri concentus ab una voce sola: No. 23, Festina quæsumus (Instrumental Version) 02:50
• 8 Centum sacri concentus ab una voce sola: No. 85, De profundis clamavi 02:31
• Ecce ego mitto vos, a 8 (Promptuarii musici, Pars Tertia - Strasbourg, 1613: No. 56):
• 9 Ecce ego mitto vos, a 8 (Promptuarii musici, Pars Tertia - Strasbourg, 1613: No. 56) 02:45
• Iason Marmaras: Intonazione sopra Susanna (Improvisation):
• 10 Intonazione sopra Susanna (Improvisation) 00:55
• Lodovico Grossi da Viadana: Centum sacri concentus ab una voce sola:
• 11 Viadana: Centum sacri concentus ab una voce sola: No. 25, Angustiæ mihi 03:43
• Francesco Rognoni Taeggio (1570 - 1626): Selva de varii passaggi, Book 2:
• 12 Selva de varii passaggi, Book 2: No. 29, Susana d'Orlando passeggiata per violini (After "Susanne ung jour" by Orlando di Lasso) 05:12
• Iason Marmaras: Toccata del terzo tuono (Improvisation):
• 13 Toccata del terzo tuono (Improvisation) 03:09
• Lodovico Grossi da Viadana: Responsoria ad Lamentationes Hieremiæ Prophetæ, Feria 6:
• 14 Responsoria ad Lamentationes Hieremiæ Prophetæ, Feria 6: No. 6, Responsorium III, a 4. Vinea mea electa 02:23
• Centum sacri concentus ab una voce sola:
• 15 Centum sacri concentus ab una voce sola: No. 44, O Domine Jesu 02:08
• Responsoria ad Lamentationes Hieremiæ Prophetæ, Feria 6:
• 16 Responsoria ad Lamentationes Hieremiæ Prophetæ, Feria 6: No. 8, Responsorium V, a 4. Tenebræ factæ sunt 02:09
• Centum sacri concentus ab una voce sola:
• 17 Centum sacri concentus ab una voce sola: No. 53, Ardens est cor meum 03:35
• Iason Marmaras: Toccata per l’Elevazione (Improvisation):
• 18 Toccata per l’Elevazione (Improvisation) 02:20
• Lodovico Grossi da Viadana: Centum sacri concentus ab una voce sola:
• 19 Centum sacri concentus ab una voce sola: No. 51, O præciosum (Instrumental Version) 02:29
• 20 Centum sacri concentus ab una voce sola: No. 18, O dulcissime Jesu 03:07
• Thomas Schattenberg (1580 - 1622): Jubilus S. Bernhardi de nomine Jesu Christi Salvatoris nostri:
• 21 Jubilus S. Bernhardi de nomine Jesu Christi Salvatoris nostri: No. 1, O dulcissime Jesu, a 4 02:11
• Lodovico Grossi da Viadana: Centum sacri concentus ab una voce sola:
• 22 Centum sacri concentus ab una voce sola: No. 1, O quam suavis est (Instrumental Version) 03:11
• 23 Centum sacri concentus ab una voce sola: No. 62, Ego flos campi 03:30
• Iason Marmaras: Intonazione del quarto tuono (Improvisation):
• 24 Intonazione del quarto tuono (Improvisation) 00:57
• Lodovico Grossi da Viadana: Letanie che si cantano nella Santa Casa di Loreto:
• 25 Letanie che si cantano nella Santa Casa di Loreto: No. 8, Letania del quarto tuono, a 6 06:20
• Si acuero ut fulgur, a 8 (Florilegium Portense II - Leipzig, 1621: No. 57):
• 26 Si acuero ut fulgur, a 8 (Florilegium Portense II - Leipzig, 1621: No. 57) 02:59
• Total Runtime 01:18:51

Info for Viadana: Sacri concentus

Es ist überraschend, dass Lodovico Viadanas Musik so selten gehört wird, besonders angesichts der Bekanntheit, die sein Name in der Welt den Alten Musik geniesst und wenn man bedenkt, wie gross sein Einfluss bereits im 17. Jahrhundert war. Seine berühmteste Sammlung, die Cento concerti ecclesiastici von 1602, enthält sowohl eine der ersten Abhandlungen über die Praxis des Basso Continuo als auch die ersten gedruckten geistlichen Monodien mit Continuo-Begleitung. Ein bedeu­ten­der Beitrag zum einstimmigen Repertoire liegt aber in seinem späteren, lange übersehenen Druck, den Cento concerti a una voce sola von 1614. Diese Sammlung stellt eine monumentale Erweiterung zum Solorepertoire des Frühbarock dar. Während Viadana in seiner wegweisenden Sammlung von 1602 auf sicherem Boden bleibt, zeigt er sich in den Motetten von 1614 als risikofreudiger und fortschrittlicher Komponist.

Einige ausgewählte Monodien aus dieser Sammlung von 1614 bilden den Kern des Programms «Sacri concentus» und sind umrahmt von Instrumen­talstücken, fünfstimmigen Madrigalen und achtstimmigen Motetten Viadanas, sowie von Werken anderer Komponisten, die einen direkten Einfluss auf seine Monodien hatten oder von ihnen beeinflusst wurden.

Das Viadana Collective vereinigt Gesangsstimmen und Instrumente und erkundet bekanntes und vergessenes Repertoire der Spätrenaissance und des Frühbarock. Es führt mit variabler Besetzung bedeutende Persönlichkeiten und aufstrebende junge Musiker:innen der Alte Musik-Szene zusammen.

The Viadana Collective:
Suzie LeBlanc, Sopran
Vicki St. Pierre, Mezzosopran
Charles Daniels, Tenor
Roland Faust, Bass
Bruce Dickey, Zink
Anna Noelle Amstutz, Violine
Catherine Motuz, Posaune
Iason Marmaras, Orgel
Christophe Gauthier, Cembalo
Maximilien Brisson, Posaune, künstlerische Leitung

The Viadana Collective
Our Swiss-Canadian ensemble blends voices and historical instruments, and brings together major figures and rising stars of the international early music scene in exploring both well-known and forgotten repertoire of the late Renaissance and early baroque. We borrow our name from composer Lodovico Grossi da Viadana (c.1560–1627), whose life perfectly straddles those two eras, his pioneering career spanning a quarter-century on either side of the year 1600. He wrote in almost every genre of the time: four and five-part masses and vespers, falsobordoni, litanies, instrumental canzoni and sinfonie, polychoral motets and psalm settings (from double-choir, 8-part music to his monumental Salmi a quattro chori), sacred monodies and concerti for few voices with continuo (which he pioneered in his famous Cento concerti ecclesiastici), secular canzonette, 5-voice madrigals… As such, his output remarkably encapsulates the music of the era our ensemble grounds itself in.

Maximilien Brisson
A leading specialist of historical trombones and critically-acclaimed conductor, Maximilien is a member of I Fedeli, Le Consort laurentien and canticum trombonorum, and has performed with the Freiburger Barockorchester, Akamus, Concerto Palatino, Collegium Vocale Gent, Les Cornets Noirs, I Gemelli, The Toronto Consort and the Zürich Opera, among others. He is lecturer for Baroque Trombone at the University of the Arts Bremen. As a scholar, he has notably presented his research on the monodies of Lodovico Viadana at the MedRen conference in 2019, and his edition of the complete works of Andreas Oswald is pending publication.

An alumnus of the Université de Montréal, McGill University, the Royal Conservatoire in The Hague and the Schola Cantorum Basiliensis in Switzerland, where he studied early music performance with Catherine Motuz and Charles Toet, Maximilien Brisson has quickly established himself as a leading specialist of historical trombones both in Europe and North America. He has performed with the Freiburger Barockorchester, Akamus, Concerto Palatino, il Gardellino, Collegium Vocale Gent, Les Cornets Noirs, I Gemelli, Les Traversées Baroques, l’Harmonie des Saisons and the Toronto Consort, among others. He is a member of I Fedeli and ¡Sacabuche! and a founding member of canticum trombonorum and Le Consort laurentien, with which he was finalist at the prestigious YorkComp in 2019. He appears on disc with ¡Sacabuche! (Hidden treasures, ATMA), ensemble cantissimo (Choralis Constantinus 1508, Carus), the European Hanseatic Ensemble (Musik aus Alten Hansestädten, Vol. 1, cpo) and Philippe Brach (Le silence des troupeaux, Spectra Musique), and recently recorded his first solo album with Christophe Gauthier and Luc Beauséjour.

Maximilien is lecturer for Baroque Trombone at the University of the Arts Bremen. He also teaches at the MentiParti historical improvisation summer workshop in Basel, and has taught at masterclasses and workshops at the University of Toronto, the San Francisco Early Music Society and the Madison Early Music Festival. Also active as a scholar and editor, his current interests include the works of Lodovico Viadana, Andreas Oswald and František Ignác Tůma as well as organological research on historical trombones.

Booklet for Viadana: Sacri concentus