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Track(s) taken from CDA67225

Amo Christum

1629; Motetti iii
author of text

Robin Blaze (countertenor), The Parley of Instruments, Peter Holman (conductor)
Recording details: June 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: March 2001
Total duration: 3 minutes 36 seconds


'An excellent release … Robin Blaze’s clear, pure countertenor is the ideal voice for these pieces, and he sings them with impressive authority. Pick of the month' (BBC Music Magazine)

'The intrinsic qualities of this little-explored repertoire and Blaze’s musicianship mark this as an important release' (American Record Guide)

'Blaze is at his most impassioned and convincing … this disc will add to our understanding and love of this treasure house' (International Record Review)

'It is a rare thing to reach the end of a long program like this wanting more, yet that’s exactly what happened to me in this instance. All readers are urged to investigate a remarkable disc that is assured of being an exceptionally strong contender for the Want List' (Fanfare, USA)

'Robin Blaze has justifiably moved quickly into the elite of counter-tenors. Not only is he convincing vocally but his interpretative instincts are sound' (Cathedral Music)

'I would recommend this disc to anyone with a love for baroque vocal music' (MusicWeb International)

'An appealing concert of Venetian sacred music … as always with Hyperion, gorgeous sound' (Early Music)
Alessandro Grandi seems to have been largely responsible for establishing the new style at St Mark’s. It is likely that he was born in Ferrara, and he joined the St Mark’s choir in 1617; he worked there for a decade before leaving for Bergamo. Grandi seems to have invented the motet for solo voice with violins, drawing on secular idioms. For instance, Amo Christum uses the walking bass associated at the time with the canzonetta and sets a text that is a barely concealed secular love lyric.

from notes by Peter Holman © 2001

Alessandro Grandi semble avoir largement contribué à établir le style nouveau à Saint-Marc. Il vit probablement le jour à Ferrare et rejoignit en 1617 le chœur de la basilique où il y demeura une décennie avant de partir pour Bergame. En s’inspirant du style séculier, Grandi paraît avoir inventé le motet pour voix seule avec accompagnement de violons. Ainsi Amo Christum, par exemple, se sert d’une basse dont les tournures sont associées à la canzonetta d’alors ainsi que d’une texture dissimulant à peine celle des chansons d’amour profanes.

extrait des notes rédigées par Peter Holman © 2001
Français: Isabelle Battioni

Alessandro Grandi war, so scheint es, weitgehend dafür verantwortlich, daß der neue Stil an San Marco eingeführt wurde. Er wurde wahrscheinlich in Ferrara geboren und trat 1617 in den Chor der Markuskirche ein; dort war er ein Jahrzehnt lang tätig, ehe er nach Bergamo ging. Grandi scheint der Erfinder der Motette für Solostimme mit Violinen gewesen zu sein, die auf weltliche Idiome zurückgreift. Amo Christum zum Beispiel macht sich den tanzartigen ostinaten Baß zunutze, den man damals von der Canzonetta her kannte, und vertont einen Text, der ein kaum verhohlenes weltliches Liebesgedicht ist.

aus dem Begleittext von Peter Holman © 2001
Deutsch: Anne Steeb/Bernd Müller

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