December 2012 "In Dulcio Jubilo"
Our December concert concert "In Dulcio Jubilo", was held on 8th December 2012, at St Mary's Church, Aylesbury. For this performance, we were transported back to St Mark’s Venice for High Renaissance music by Giovanni Gabrieli and his German contemporary, Hans Leo Hassler. Both died 400 years ago, in 1612.
The choir was accompanied by the excellent period-instrument ensemble Canzona, whose individual items included the first-known example of prescribed dynamic contrasts, Gabrielli’s Sonata “Pian e Forte” (1597). (Click here for Canzona's website). Their nuanced playing was delightful, and they were directed from a chamber organ by Alistair Ross. A larger organ would have been desirable to accompany the choir, who were in full-throated form in the double-choir items.
Their conductor, Peter Leech, provided a chortle for all organists who have had their voluntaries halted at the end of services by telling us that Renaissance princes valued music so highly that any priest interrupting the music was fined.
A measure of Peter Leech’s innovative programming was in slanting the choice of pieces towards Advent and Christmas. Gabrieli’s “O Magnum Mysterium” and various settings of “In Dulci Jubilo” were performed confidently but the choir was stretched when the part-writing and metre changes were complex, which is one reason why much of this music is seldom heard.
How refreshing it was to have the congregation invited to sing with the choir in less-familiar carols from that period – and have music sheets supplied on the chairs. Hodie Christus Natus Est by Gabrieli ended with choir, sackbuts and cornetts, making a glorious celebration for Christmas Day.
David Berdinner
Our December concert concert "In Dulcio Jubilo", was held on 8th December 2012, at St Mary's Church, Aylesbury. For this performance, we were transported back to St Mark’s Venice for High Renaissance music by Giovanni Gabrieli and his German contemporary, Hans Leo Hassler. Both died 400 years ago, in 1612.
The choir was accompanied by the excellent period-instrument ensemble Canzona, whose individual items included the first-known example of prescribed dynamic contrasts, Gabrielli’s Sonata “Pian e Forte” (1597). (Click here for Canzona's website). Their nuanced playing was delightful, and they were directed from a chamber organ by Alistair Ross. A larger organ would have been desirable to accompany the choir, who were in full-throated form in the double-choir items.
Their conductor, Peter Leech, provided a chortle for all organists who have had their voluntaries halted at the end of services by telling us that Renaissance princes valued music so highly that any priest interrupting the music was fined.
A measure of Peter Leech’s innovative programming was in slanting the choice of pieces towards Advent and Christmas. Gabrieli’s “O Magnum Mysterium” and various settings of “In Dulci Jubilo” were performed confidently but the choir was stretched when the part-writing and metre changes were complex, which is one reason why much of this music is seldom heard.
How refreshing it was to have the congregation invited to sing with the choir in less-familiar carols from that period – and have music sheets supplied on the chairs. Hodie Christus Natus Est by Gabrieli ended with choir, sackbuts and cornetts, making a glorious celebration for Christmas Day.
David Berdinner
