Andrea Gabrieli (1510 - 1586)

1. Intonazione Del Primo Tono
2. Ricercare Del Primo Tono
3. Intonazione Del Sesto Tono
4. Ricercar Arioso
5. Mottetto "Egredimi & Videte" A 8, A Due Organi

Giovanni Gabrieli (1557 - 1612)

6. Fuga Del Nono Tono
7. Toccata Del Secondo Tono
8. Canzon "La Spiritata" A 4
9. Canzon "Sol Sol La Sol Fa Mi" A 8, A Due Organi

Andrea Gabrieli (1510 - 1586)

10. Toccata Del Quinto Tono
11. Canzon Ariosa
12. Fantasia Alegra
13. "Io Mi Son Giovinetta" A 4, Intavolato
14. Canzon Francese Detta Petit Jacquet A 4

Giovanni Gabrieli (1557 - 1612)

15. "Lieto Goclea" A 8, A Due Organi
16. Toccata Del Primo Tono
17. Ricercar Del Primo Tono
18. Canzon Del Secondo Tono
19. Canzol Del Duodecimo Tono
20. Canzon XII. T. A 10, A due Organi
21. Canzon Primo Tono A 8, Due Organi

Luigi Ferdinando Tagliavini, Liuwe Tamminga - organ

Recorded at the Basilica di S. Petronio, Bologna, Italy, 1990  

"Authentic" recordings of early organ music are rare, for the comparatively small organs of the sixteenth and early seventeenth centuries were in most cases replaced by the more splendid efforts of the builders of the High Baroque. This little disc, originally released in 1990 and reissued by the omnivorous Dutch budget label Brilliant, is the exception. The organs that Andrea and Giovanni Gabrieli would have played at the cathedral of San Marco in Venice (the much-photographed building front on Venice's pigeon-crowded main piazza) no longer exist. But a similar pair has been preserved at the Basilica di San Petronio in Bologna, and it is these that are used here by organists Luigi Ferdinando Tagliavini and Liuwe Tamminga. The effect is really delightful, and for many average listeners who enjoy organ music it will stir a desire to hear more organ music of the early Baroque played this way. The pieces are for one or two organs, and they cover the typical genres of the Gabrieli father and son: the free intonazione and toccata, the more contrapuntal ricercar and fuga, and various pieces modeled on or directly adapted from vocal models, either motets or canzonas, which were the Italian equivalent of French chansons. Works were classified by mode or "tono," the Toccata del Secondo Tono (track 8) of Giovanni Gabrieli, for example, was a toccata in mode two. The works by Andrea Gabrieli reflect something of the dual origins of organ music in improvisation and in the adaptation of vocal models. The real stars of the show are the Bologna organs, which are much quieter than a typical High Baroque organ, yet bright, lively, and almost catchy. The music seems written to take advantage of the resonance of the musical space they create, and the shimmering persistence of overtones at the end of each piece seems uncanny after you hear it a few times. This disc would make a good purchase, or gift, for anyone who likes organ music of any kind. ---James Manheim, AllMusic Review

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1 	Ricercar A 4 Del Primo Tuono	6:15
2 	Motet De Profundis Clamavi (Psalm 130) 	5:28
3 	Canzon Alla Francese Petit Jacquet	1:59
4 	Missa Pater Peccavi Kyrie	3:45
5 	Intonazione Del Sesto Tuono	1:09
6 	Missa Pater Peccavi Gloria	5:43
7 	Ricercar A 4 Del Sesto Tuono	3:14
8 	Missa Pater Peccavi Credo	9:23
9 	Madrigal Ancor Che Co'l Partire	4:03
10 	Missa Pater Peccavi Sanctus	2:30
11 	Missa Pater Peccavi Benedictus	2:20
12 	Ricercar A 4 Del Duodecimo Tuono	2:37
13 	Missa Pater Peccavi Agnus Dei I II III	4:44
14 	Ricercar Del Settimo Tuono	4:00
15 	Motet O Sacrum Convivium	3:52
16 	Ricercar Per Sonar A 8	3:54

His Majestys Sagbutts And Cornetts (Ensemble)
His Majestys Consort Of Voices (Choir)
Baritone Vocals – Alastair Hamilton (tracks: 4, 6, 8, 10, 11, 13)
Bass Vocals – Adrian Peacock (tracks: 2, 4, 6, 8, 10, 11, 13), Robert MacDonald (tracks: 4, 6, 8, 10, 11, 13)
Bassoon [Dulcian] – Keith McGowan (tracks: 7, 16)
Cornett – David Staff (tracks: 1, 4, 6 to 8, 10 to 13, 16), Jeremy West (tracks: 1, 2, 4, 5, 8, 10 to 13, 16)
Organ [Chamber] – Timothy Roberts (tracks: 3 to 6, 8 to 11, 13, 14, 16)
Soprano Vocals – Anna Sarah Pickard (tracks: 4, 6, 8, 10, 11, 13, 15), Julia Gooding (tracks: 4, 6, 8, 10, 11, 13)
Tenor Vocals – Joseph Cornwell (tracks: 2, 4, 6, 8, 10, 11, 13)
Trombone [Sackbut] – Abigail Newman (tracks: 2, 4, 6, 8, 10, 11, 13, 15, 16), Adam Woolf (tracks: 2, 4, 6, 8, 10, 11, 13,15, 16),
 Stephen Saunders (tracks: 1, 2, 4, 6, 8, 10 to 13, 15, 16), Susan Addison (tracks: 1, 4, 6 to 8, 10 to 13, 15, 16)
Viola [Renaissance] – Oliver Webber (tracks: 7, 16)
Conductor – Timothy Roberts

To Andrea Gabrieli - and his nephew Giovanni - a choir wasn’t necessarily a group of singers who sang together. A choir could be a mix of singers and instrumentalists and it was only rarely that you would have many voices to a part. What we regard as a choral piece could just as well be sung by a single voice with instrumental support on the other lines. Generally composers put text on all lines whether they thought of them as vocal or instrumental.

This is something which is too often lost sight of when choral groups come to record this repertoire. So it is heartening to find Hyperion re-issuing their recording of Andrea Gabrieli’s Missa Pater Peccavi. The performances are given by His Majestys Consort of Voices and His Majestys Sagbutts and Cornetts. The name is the key, of course; this isn’t a recording originating with a choir but with an instrumental group with its own consort of voices.

The results are outstanding and even if the disc is not strictly a liturgical reconstruction, the interspersing of the mass movements between motets and instrumental pieces makes for a satisfying whole.

Andrea Gabrieli rose through the ranks to become first organist at St. Mark’s in Venice. He never became maestro di capella. But he wrote a considerable amount of church music for St. Mark’s and for other Venetian churches. The problem is that he didn’t publish it so it is difficult to date his pieces precisely. Missa Pater Peccavi, which is written for six-part choir, was published in 1572 and is a parody mass, being based on Andrea Gabrieli’s motet Pater peccavi in caelum, which was published in 1565 in his earliest published collection.

For the mass six instrumentalists and organ double the six singers, though in certain movements the scoring is reduced to voices and organ or a mixture of voices and instruments. The decisions about what to do when are those of Timothy Roberts and his musicians; we don’t have much to go into specifics in this area.

But what they do is very, very convincing. The singers are superb and provide a well-shaped and beautifully crafted account of the mass. They and the instrumentalists also eradicate any doubts you might have had at balancing six singers with two cornetts and four sagbutts. Andrea Gabrieli's music isn't generally as showy as that of his nephew. Missa Pater Peccavi is a rather sober, considered work which richly repays the attention paid to it in this performance.

For the motets, the group uses a mixture of voices and instruments. De Profundis clamavi, from Gabrieli’s 1572 collection of penitential psalms, is performed with just the third and fifth voices performed by singers and the remainder by instruments. In his booklet note, Timothy Roberts points out that when doing this you have to be careful that you choose parts which include all the words. But when done successfully, as it is here, the results are entrancing as the voices are counterpointed by instruments as well as some sections becoming instrumental ritornelli. For the communion motet, O Sacrum convivium, a solo soprano (Anna Sarah Pickard) is accompanied by four sackbuts to striking results.

The instrumentalists also play five Ricercars. Gabrieli did not write much purely instrumental music and seven Ricercars were published at the end of a collection of madrigals, raising the question that they might have been sung. These are attractive in their own right and help to form a varied and well-balanced programme. The final element in this programme is a group of organ solos, which adds an additional texture to the mix.

This is a well put-together programme, which wears its learning lightly. Gabrieli’s pieces receive superb performances from Timothy Roberts and his forces. Whilst some people will anticipate being disappointed that we get no large-scale choral effects, they should have no such worries. This is an entrancing and convincing foray into Gabrieli’s sound-world and should be on everyone’s library shelves. ---Robert Hugill, musicweb-international.com

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