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Ensemble: Nova Schola Gregoriana, Alberto Turco dir.
Album: Cantemus Domino, La psalmodie du soliste dans la messe
Video: Noted Breviary MS. 24, 1420 circa

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Soloist psalmody in the repertory of ancient western liturgies, and in Gregorian chant in particular, is the most authentic and evocative and representative. From the musical point, of view, this is made up to extremely ornate and complex fragments, requiring great skill on the part of the performers: the psalmist or, later, the schola. Originally, the schola consisted of a chorus of psalmists. This recording features the most significant pieces: an example of each modal timbre (2nd and 8th mode) for the most ancient of the psalmodies, and of each mode (1st, 3rd, 5th and 7th) for the responsorial psalmody. The interpretation aims at exalting the meaning and dynamic expressiveness of the text through an intense musicality. This derives from careful semiological and modal analysis of Gregorian phrasing.

ORDINARY DIRECT PSALMODY
A liturgical form of music reserved exclusively for a soloist.
Cantemus Domino (8th mode). Canticle of the Easter vigil sung after the reading from Exodus. From an aesthetic point of view, it invests the form with an ornate psalmodic tone, especially in the cadences. The psalmodic intonation moves progressively upwards, tranforming the text into a hymn of victory; God manifesting his glory through the liberation of his people. Domine, exaudi (2nd mode). This is the psalmody of the fourth day of Holy Week. One hears repeated the anguished appeals Jesus addresses to his Father. The invocation at the beginning of each verse now tends to severe melisma (Domine, exaudi, Ne avertas, etc...) with occasional notes emphasised (Percussus sum, Tu exsurgens) imploring God, through his
Son, to take pity on his people.

RESPONSORIAL PSALMODY
A liturgical form of music for soloist with refrain. Haec dies (2nd mode). The joy of Easter bursts forth in the graceful, jubilant sounds of the verses of psalm 17, which, in the ancient liturgy, was sung on Easter Day. The miracles performed by God, the fruits of his merciful goodness (quoniam bonus), find
their true expression in these uplifting meIodic elements. Ecce quam bonum (1st mode). With broad phrasing, free yet at the same time rich in grace notes, the composition expresses the eternal bliss of a world in which charity has excluded all division. Tu es, Deus (3rd mode). God has freed his
people (populum suum, filios Israel) from the slavery of Egypt and led them towards the Promised Land by virtue of his strength (virtutem tuam) and through a succession of miracles (mirabilia). Gregorian composition incorporates all the words of the text in a solid, complex structure which, time and again, lingers over elegant, sustained echoes of sounds on the dominant. Bonum est, confiteri (5th mode). Chant of believers to whom mercy has been granted. Thanksgiving offered to the Lord is transformed, from the early morning into a hymn praising God (Altissime), marked by ample and pleasant ornamental and joyful vocalisation (jubili). Liberasti nos (7th mode). The enthusiastic response of the choir proclaiming God to be
the «deliverer from all evil» contrasts with the sustained, flowing melisma that emphasize the words of the soloist's verse (In Deo laudabimur tota die), suggesting that only faith and hope in God are unshakeable. (from the booklet).
About the video: I used five pages of the wonderful noted breviary classified MS.24.
This manuscript was made in northeastern Italy about 1420.

I wish you happy listening!
Mirko Virginio Volpe
MUSICA MEDIEVALE
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1 Canticum, Cantemus Domino
2 Graduale Haec Dies, Confitemini Domino, Dicat Nunc, Qui Redempti, Dextera Domini, Lapidem, Quem Reprobaverunt, Benedictus Qui Venit
3 Tractus, Domine, Exaudi
4 Graduale, Ecce Quam Bonum
5 Graduale Tu Es Deus
6 Graduale Bonum Est Confiteri
7 Graduale Liberasti Nos
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Chorus - Nova Schola Gregoriana, Alberto Turco dir.
Solist - Alessio Randon
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#musicamedievale #earlymusic #medievalmusic #gregorian #albertoturco #middleages #sacred #gregorianchant

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