Vulnerasti cor meum: XVII century sacred vocal and instrumental music



Thursday 16 August at 7pm, Kretinga's Fransciscan Church

Nuria Rial & Les Cornets Noirs:

Frithjof Smith, cornetto

Gebhard David, cornetto

Johannes Strobl, organ



In the beginning of the XVII century Italy had many different music “schools”, each one with its particularities: the Roman school, founded by Giovanni Pierluigi da Palestrina, one of the most influent composers of all times; the Tuscany school with the Camerata Fiorentina, a group of humanists, poets, intellectuals and musicians, represented by Giulio Caccini. The two biggest schools from North Italy were the Venetian and the Bergamasque (around Milano). The two latter schools constitute the main pillars of inspiration for this programme, as a dialogue between two different music traditions.


Horatio Tarditi was born in Rome, but early in his career he came to Veneto to work in Murano, near Venice. Giuseppe Scarani worked in Venice and was, together with Dario Castello, one of the most important composers of instrumental music in the beginning of the XVII century. Both developed the new concertato style, conceived by Andrea and Giovanni Gabrieli. Alessandro Grandi, born in Venice, was an important member of the Venetian school and made a particular influence on vocal concertato style. Another Venetian composer Giovanni Battista Riccio was developing different forms of instrumental music and can be heard in this programme in the dialogue between two cornetti in echo.


Francesco Rognoni, who worked in Milano, the composer of the Bergamasque School, is nowadays mostly known for his Selva di varii passaggi… – a compendium of diminutions, a particular way to improvise and embellish vocal and instrumental music in XVI–XVII centuries. Though born in Cremona, Tarquinio Merula was a member of the Venetian school. For 5 years he was as well the organist in the court of Sigismund III Vasa, and he helped to develop many different musical forms such the sonata da camera and da chiesa and the sinfonia.


Claudio Monteverdi was the most important composer of the XVII century. Member of the Venetian school, he is considered the father of the opera for his Orfeo, and composed the most impressive collection of madrigals of the time. Nevertheless, his sacred work is not less important; his Vespers for the Virgin Mary or his Selva Morale e Spirituale, presented in this program, are one of the foundations for the new style of music in the church. 


Nicolò Corradini worked mainly in Cremona. The programme represents two of the forms that this composer of the Bergamasque School developed. The sonata in risposta brings the concept of dialogue, where the same written motives are performed differently by two cornetti, playing with phrasing and improvising diminutions to create an actual conversation. The second form, quite emblematic of Corradini, is the canzona mottetto, where a sung motet interchanges with interventions of one cornetto, playing a canzona with different motives.


Ignatio Donati was a composer from the Bergamasque School and had a prestigious position at the Milan Cathedral. With his collection Salmi Boscarecci he acquired a certain notoriety, he was one of the pioneers regarding the orchestration of sacred music. He defined the cantar lontano as a vocal practice, in this program represented by the piece O Gloriosa Domina.


Girolamo Frescobaldi was an important member of the Roman school. He is presented in this program with a piece upon an obligato bass, typical for the XVII century, which was called Bergamasca as a tribute to the Northern School.


Maurizzio Cazzati was another composer from the Bergamasque School. Important to the development of instrumental music, he is presented in this programme with another example of a sonata in ecco. Little is known about composer Benedetto Re, except that he worked in Pavia, and was linked to Ignatio Donati. Giovanni Legrenzi worked in the Venetian Basilica of San Marco and was one of the most prominent composers in Venice in the late XVII century. Though best known as a composer of instrumental sonatas, he was predominantly a composer of liturgical music with a distinctly dramatic character.


Vulnerasti cor meum is the impeccable stage for the dialogue between Venetian and Bergamasque schools, between voice and cornetti, and between cornetti themselves; a program where the music speaks for itself.






Horatio Tarditi (1602-1677) "Domine ad adiuvandum me festina“

Musiche varie da chiesa ... Venezia 1650


Giuseppe Scarani (17th century) Sonata tertia à 2 soprani

Sonate concertate a due e tre voci ... Venezia 1630


Alessandro Grandi (ca. 1586-1630) "Vulnerasti cor meum"

Motetti a una, e due voci, con sinfonie d'istromenti ...Venezia 1621


Giovanni Battista Riccio (ca. 1570 - after 1621) Canzon à doi Soprani in Echo

Il secondo libro delle Divine Lodi Musicali ... Venezia 1614


Giovanni Pierluigi da Palestrina (1525-1594) "Pulchra es"

Diminutions by Francesco Rognoni, Selva dei vari passaggi... Milano 1620           


Tarquinio Merula (1594/ 95-1665) Canzone La Catterina

Canzoni overo Sonate concertate ... Venezia 1637


Claudio Monteverdi (1567-1643) "Laudate Dominum in sanctis eius"

Selva morale e spirituale ... Venezia 1641


Nicolò Corradini († 1646) Suonata à 2 Cornetti in risposta. La Golferamma

Partitura del primo libro de canzoni francese ...Venezia 1624


Ignatio Donati (ca. 1575-1639 ) "O gloriosa Domina"

Flores praestantissimorum virorum ... Milano 1626


Girolamo Frescobaldi (1583-1643) Bergamasca

 Fiori musicali ... Venezia 1635


Maurizio Cazzati (ca. 1620-1677) Capriccio detto Il Marescotti à 2 in ecco

Capricci per camera e per chiesa ... op. 50. Venezia 1669


Nicolò Corradini  (17th century) "Cantate Domine"

Motetti ... alcuni concertati con instromenti ... Venezia 1624


Benedetto Re (early 17th century) Canzon à 4. Accomodata a suonare a duoi chori

Caterina Assandra, Motetti a due & tre voci ... aggiontovi una canzon francesa a 4. ...del Rever. Don Benedetto Re ... Milano 1609


Giovanni Legrenzi  (1626-1690) "O dilectissime Jesu"                     

Motetti sacri ... op. 17 ... Venezia 1692



Nuria Rial CV

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