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All Saints All Souls November 2007

All Saints All Souls November 2007

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Published by Consortium Carissmi
November 2007 - Consortium Carissmi concert program
November 2007 - Consortium Carissmi concert program

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Published by: Consortium Carissmi on Apr 14, 2011
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04/22/2014

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16
W
hen the Lamb broke open the fifth seal,I saw underneath the altar,
 
the souls of those who had been slain
because of the witness they bore to the word of God.”
 
Apocalispe 6,9 
 
 
C
O N S O R T I U M
C
A R I S S I M I
 
“…squisita musica strumentale ed eccellente musica vocale.” Pompilio Totti
Ritratto di Roma 
1638
USQUEQUOPECCATORES 
Music for All Saints & All Souls 
Gethsemane Church - 905 4th Avenue South, Minneapolis, MN
Thursday, November 1st - 2007 7:00pm 
St. Mary’s Chapel at St. Paul Seminary 
- 2260 Summit Ave, St. Paul, MN
Sunday, November 4th - 2007 4:00pm 
 
2
C
O N S O R T I U M
C
A R I S S I M I
 
“…squisita musica strumentale ed eccellente musica vocale.” Pompilio Totti
Ritratto di Roma 
1638
 
Presentation
 Consortium Carissimi was founded in Rome in 1996 with the intent of uncovering and bringing to modern day ears the long forgotten Italian-Roman sacred and secular music of the 16 
th 
and especially the 17 
th 
century.Among the various types of music that flourished in Rome during the 17 
th 
century, the Oratories of GiacomoCarissimi are perhaps examples of the most outstanding form of composition of that time. Consortium Carissimi proudly takes on his name as a means for performance practice in both concerts and recordings, moving ahead in the area of the manuscript transcription and the performances of his little known Motets and Cantatas.Alongside the works of Carissimi, the ensemble also proposes music of his contemporaries, which was often 
mistaken as music of Carissimi either for the similar style or for it’s simple, fresh new approach to text, melody 
and accompaniment. Dedicating much of the research and concert activity to composers like Graziani, Rossi,Pasquini and Sances, Consortium Carissimi 
 
assures not only extremely interesting Concert Programming, but provides a clearer picture of the musical fermentation of the Early Roman Baroque.This repertory, wrongly forgotten and heard very little today, even within musicological-performance circles, offers examples of the high level of musical creativity of the time and certainly no less excellent than the European output of the 18 
th 
century. Of great importance is the performance of sacred and secular music transcribed from manuscript or early print sources, which come from libraries located all over Europe. This work, which is done by its founder Garrick Comeaux, allows Consortium Carissimi 
 
to program World Premier Concerts and Recordings. The musical style, the affects of the texts, the ornamentation and the choice of the figured bass instruments are object of continuous research. It is however right within these parameters that Consortium Carissimi 
 
finds its reason for existence and finds the vital energy necessary for the continuing research and performance practice.The Italian Consortium Carissimi ensemble consisted primarily of a small nucleus: three male vocal specialists,Fabio Furnari, tenor; Marco Scavazza, baritone; yours truly as bass singer, and Vittorio Zanon, organ and musical direction; Pietro Prosser, theorbo; and Crisitiano Contadin, viola da gamba. This Italian ensemble truly built the foundation for introducing Consortium Carissimi to North America.Today you will hear the newly formed stateside ensemble of Consortium Carissimi. Much of the Carissimi 
repertory requires more mixed voices and additional instruments, as is in the case of this evening’s concert. It is in 
fact my hope to pursue the performance of the larger works of this era with this phenomenal stateside ensemble, as well as to continue musical collaboration with my Italian friends. This first performance of Consortium Carissimi USA is dedicated to all of them.Garrick Comeaux 
 
www.consortiumcarissimi.it
 
15
One of the first phrases I learned in Italy, many years ago, was the colloquial expression,
ma ti rendi 
 
conto,
which can be said as a question or as an exclamation. It means in either case,
can you believe it? 
or perhaps
gofigure 
!I landed in Italy with a one way ticket, to continue my studies at the
Conservatorio di Santa Cecilia 
in Rome.In order to make ends meet financially and not get into trouble with Italian work permit office, I took ajob as an
au pair 
in a private home in
Velletri 
. I soon came to the realization that this was the home of theItalian cinema actor, Ugo Tognazzi and his large extended family,
ma ti rendi 
 
conto! 
 I helped in the kitchen, served at table and I drove the children to school; Maria Sole to
Castel Gandolfo
andGian-Marco to
Marino
. This is where it all started. I soon fell in love with Marino and all the
Castelli Romani 
, land of wine and bread and Popes, and the birth-place and home of two of our composers in this
evening’s concert, Graziani and Carissimi,
ma ti rendi 
 
conto
!It is interesting to notice that this small hillside town of Marino produced musicians the likes of Carissimiand Graziani. There is yet one more but even lesser-known musician that Marino can claim.
GiovanniBattista Mocchi
will make for interesting future investigation and concert programming.I am very pleased that this music has stirred up interest on the part of such fine singers and players andhas brought about this state side ensemble to come together. We are truly honoured to bring this music tothe fine Twin Cities audience.
Garrick Comeaux
Look for future concert programming under our
Future Concerts 
section at our website:www.consortiumcarissimi.it
——————— 
Consortium Carissimi CD Recordings 
——————— 
 
Mass for Three Voices
Naxos Records (8.555075)
with Six Motets of Giacomo Carissimi (1605-1764)
Ten Motets
 
Naxos Records (8.555076)
of Giacomo Carissimi (1605-1764)
Santa Agnese Oratorio
Disques Pierre Verany 
 
PV703051
of Bernardo Pasquini (1637 - 1710)
 
Dialogue Motets of Cristóbal de Morales
 
Sanctuary Records 
— 
London 
CD GAU 343
 
Jephte / Jonas / Dai più riposti abissi
Naxos Early Music 8.557390
 
12 Motets of Giacomo Carissimi
Disques Pierre Verany 
— 
Paris PV 705011
 
14
Even though
Mottettum de martyribus 
is written on the front cover of 
Usquequo peccatores 
, this sort of composition exposes the difficulty in determining what actually differentiates an oratorio from aMotet. This Motet (or Oratory) is made up of different familiar Biblical passages which recount thecourse of all the Saints and Souls throughout history.A facsimile of page three of the figured bass part has been placed on the back cover of this concertprogram. It gives specific indication of the theatrical nature of this music, whether we call it anoratory or a motet. You will notice an inscription to the left of the third line down which states
sotto
l’altare 
for choir II. This choir (soprano, alto and tenor) sang from underneath the altar where oftenthe relics of a patron saint are placed for veneration. Many basilicas and churches in Rome have this
structure (somewhat similar to St. Peter’s) thereby creating acoustical dynamics for a very dramatic
interpretation.The works in this concert program are undoubtedly some of greatest masterpieces of the Early ItalianBaroque. It is most appropriate to end our first concert with the words of the psalmist:
Raise a song and sound the timbrel, the merry harp, and the lyre 
.Garrick Comeaux
A special thanks 
to
 
Fr. Tom Margevicius, our host at the
St. Paul Seminary 
and helper with latin text translations,to Rev. Aron Kramer and the community of 
Gethsemane Episcopal Church 
,to Bill Mathis and
Hennepin United Methodist Church 
for the use of the portative organ,to Julie Seykora, Beth Nunnally, for helping set to up our state-side administration,to Tom Walker and Mark Kausch for thier collective energies,to Douglas Shambo for help with more latin text translations and toElisabeth Comeauxfor truly believing that this incredible endeavor should come to pass.
3
The SingersThe Players
English translations of the Latin Texts with Biblical and the Liturgical referenceshave been reproduced in bold letters and left in their original contexts.Poetical innovations in these counter-reformation texts are translated directly in [brackets].
Sopranos 
Linh KaufmanKathryn HigginsBridget HigginsDiane Koschak Julie SeykoraCarrie Henneman-Shaw Lani Willis
 Altos 
Karla ColeTimothy Faatz
 
Jerry J. HinksBeth Nunnally 
Tenors 
 Steven KnightTim NelsonSteve Staruch
Basses 
 Dan Cross
 
Tim HigginsChristopher MichelaBen Henry-MorelandDouglas Shambo IIJeff Stone
Violin 
Kathryn McWilliams
Cornetto
Scott Hagarty 
Recorders 
Eden KaiserAlan Kolderie
Basso Continuo
 Thomas E. Walker, Jr.
theorbo
 Phil Rukavina,
theorbo
Annett Richter,
lute 
 Mary Virginia Burke,
viola da gamba 
 Mark Kausch,
violone Organ 
David Bartlett
Direction 
Garrick Comeaux

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