Reviewed by Steven Whitehead

I have listed this album under classical rather than choral as although there is some singing from The Gesualdo Consort Amsterdam most of the interest comes from the instrumental pieces played very well by The Ensemble Oltremontano under their director, Wim Becu. Giovanni Gabrieli (1554/7?-1612) was a leading figure in Renaissance Venetian music. He succeeded his uncle Andrea Gabrieli, an organist at Venice's St Mark Basilica after his uncle's death in 1586 and retained this position until his own death in 1612. His work as a composer represents the height of musical achievement in Renaissance Venice. Gabrieli continued the traditional cori spezzati techniques developed at St Mark's during the 16th century, contrasting different groups of singers and instrumentalists and making use of the acoustic effects possible in the great basilica. Gabrieli's "Sacrae Symphoniae", published in 1597, are a monumental collection reflecting the power and esteem of the Venetian state expressed through what was then cutting-edge composition and requiring the latest instruments such as the sackbut (a proto trombone) and cornetti (a curved wooden instrument with a cup-shaped mouth-piece). Wim Becu has selected the works for this recording primarily from this collection, forming a cross-section of Gabrieli's vocal and instrumental output. The ensemble, the core of which consists of baroque trombones and zinks, is expanded here by the inclusion of strings and organ; the vocal parts are sung by The Gesualdo Consort Amsterdam. In the vocal concertos of the "Symphonia Sacrae' we find not only Psalm motets bound to the earlier, lofty Renaissance style, but also hymn-like settings of Marian prayer texts. In addition, there are also purely instrumental works - a novelty for this period. Please do not get the impression that this recording is of interest only to music historians - which it should be - as the music itself is interesting enough to hold anyone's attention and the musicianship is splendid.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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