Rigatti: 1640 Venetian Mass

Rigatti: 1640 Venetian Mass

Rigatti: 1640 Venetian Mass
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CD Details

Composer: Massimiliano Neri
Composer: Gregorian Chant
Composer: Giovanni Antonio Rigatti
Composer: Giovanni Picchi
Composer: Carlo Gesualdo
Composer: Plainchant Chant
Composer: Claudio Monteverdi
Composer: Dario Castello
Composer: Lodovico Viadana
Performer: Christine Brandes
Performer: Linda Perillo
Edition: Music CD
Format: Import
CD Release Date: 2007-04-06
Music Label: Analekta
Soundtracks:
  1. Sonata �  6 No. 8
  2. Suscepimus Deus, anthem
  3. Sinfonia (from Messa e salmi parte concertati, 1640)
  4. Kyrie
  5. Gloria
  6. Canzon Decima Quarta
  7. O stella c�¦li, motet
  8. Messe �  8 voix: Credo �  8
  9. Deus refugium, offertory motet for 5 voices, W. 8/54
  10. Per omnia saecula saeculorum
  11. Messe à 8 voix: Sanctus à 8
  12. Christe, adoramus te, motet for 5 voices, SV 293
  13. Per omnia saecula saeculorum
  14. Messe à 8 voix: Agnus Dei à 8
  15. O dulcissima Virgo, motet
  16. Sonata for solo instrument & continuo No. 2 (Sonata Concertate II/2)
  17. Ite missa est
  18. Concerti Ecclesiastici: Exultate justi, for four voices

Music reviews of Rigatti: 1640 Venetian Mass

Music Review: Majestic Mass by a little-known Venetian master
Rating: 5 Stars

Here is a truly outstanding programme of Venetian baroque music. Giovanni Rigatti may be an unfamiliar name to some but the main work on this disc, his "Missa à 8", is a magnificent example of the concertante mass in the style of Monteverdi and Cavalli, the latter being Rigatti's contemporary. Baroque music lovers who know the splendid "Venetian Vespers" programme by Paul McCreesh and the Gabrieli Consort and Players will already be familiar with some of Rigatti's works, beautifully performed on that disc.

The programme on the present CD consists of Rigatti's Mass interspersed with instrumental pieces, chants and motets by various composers of the time, much in the style of other "reconstruction" programmes that have appeared on disc in recent years. From the very start of the opening work, a fine-sounding sonata by Neri played in superb style by the period wind instruments of The Whole Noyse, it is quickly apparent that this is very much an authentic, historically-informed performance; and so it continues. Rigatti's Mass opens with a short but beautiful instrumental sinfonia, soon joined by the Vancouver Cantata Singers performing not only with all sections in fine voice but with a true feeling for baroque style. The excellent period instrument players of the small Pacific Baroque Orchestra make an equally lovely sound in the many concertante sections of the Mass, and especially in the gorgeous violin sonata by Castello towards the end of the programme. There are far too many melodic and expressive delights in the Mass to list here, but the dialogue passages between voices and instruments, such as at "Et resurrexit", are perfectly balanced and sound truly splendid. All the vocal soloists perform beautifully but it is the two sopranos, Linda Perillo and Christine Brandes, who have the most prominent solo parts. The booklet doesn't indicate which one of them performs Rigatti's communion motet "O dulcissima Virgo", but whoever it is sings like an angel, with a lovely, silvery voice and in perfect style. The church acoustic in Vancouver sounds just right, and is ideally captured by the recording engineers.

A few quibbles with the booklet, however: first of all, texts of the vocal items would have been appreciated. Secondly, although the background notes are most interesting and informative, there was no need for the writer to denigrate Cavalli's equally splendid Messa Concertata in order to argue for the quality of Rigatti's work - there was ample room for both of these wonderful composers, and several more besides, in 17th-century Venice. And lastly, please don't be put off from visiting that fine German city of Regensbug (sic) where, as the note tells us, The Whole Noyse played a series of concerts for the early music festival - and, we presume, returned home unharmed.

The conductor, James Fankhauser, together with the production and recording team, deserve great credit for planning and delivering a well balanced and varied programme of unfamiliar but magnificent baroque sacred music. Equally, the various musical forces involved all do a fantastic job and, above all, they mould perfectly into a highly effective and convincing team of baroque musicians. As a result of all this they have produced a beautiful and entirely convincing reconstruction of a Venetian Mass, and done full justice to a composer who thoroughly deserves modern recognition and whose music should delight enthusiasts of the period.
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Description of Rigatti: 1640 Venetian Mass

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Monteverdi so dominates the picture of early 17th-century Venetian music that it's easy to forget he had talented students and colleagues. Rigatti, one of the most promising, might have succeeded Monteverdi at San Marco had he lived beyond age 34. This recording reconstructs a Mass for the Feast of the Purification (a.k.a. Groundhog Day) around Rigatti's Messa à 8; also included are contemporary motets and sonatas (including one each by Monteverdi and Gesualdo). Rigatti's Mass has some attractive moments, though his melodic inspiration occasionally flags; the motets and sonatas are lovely, as is all the instrumental playing (especially by violinist Marc Destrubé). The choir sounds a bit large for this repertory, and its singing may a lack certain polish, but it's never less than competent. Matthew Westphal

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