Volume I of the complete works of Chiara Magdalena Cozzolani contains all the works in her 1650 publication Salmi a Otto Voci. The double CD set includes texts and English translations, liner notes by Robert Kendrick and album artwork by Nika Korniyenko.
Includes unlimited streaming of Salmi a Otto Voci (1650)
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
ships out within 3 days
Streaming + Download
The versicle and response Deus in adiutorium was previously released on the CD "Vespro della Beata Vergine" and is available here for immediate download in your choice of 320k mp3, FLAC, or other formats. For more information about Cozzolani and this track please visit cozzolani.com.
By pre-ordering CDs from The Cozzolani Project's complete works of Cozzolani at cozzolani.com/subscribe you will receive free digital downloads of all tracks - those previously released and those currently in preparation as they become available. The double CD "Salmi a Otto Voci (1650)" is scheduled for release and shipment in Spring 2010, with the double CD "Concerti Sacri (1642)" due in Spring 2011.
Cozzolani treats the text of Domine ad adiuvandum with an emotional intensity quite different from the straightforward presentation of Grandi. After a triple meter, eight-voice, homophonic opening plea in G major, Cozzolani urges the Lord in duple time to "hasten" (festina), truncating the text to festina, Domine imitated several times in three rapidly moving solo voices, and finally closing in C major with repetitions of festina alone. But rather than proceed immediately to the Doxology, as Grandi does, Cozzolani repeats the response and builds a larger structure based on tonal transpositions of preceding material. The repetition of Domine ad adiuvandum returns to a full homophonic texture in triple meter, but beginning in C and cadencing in D, paving the way for a repetition of festina, Domine a fifth above its initial presentation. The response then closes with reiterations of fragmented text alternating between triple-meter, eight-voice homophony and three-voiced, duple-meter repetitions of festina. Again the repeated motives and textures are transposed by a fifth up or fourth down, and even by a step upward, the whole concluding where it started, in G major.
The Doxology is approximately the same length as the response, and shifts from duple-meter, eight-voice homophony for the Gloria Patri to two voices in parallel thirds at the beginning of the Sicut erat. This latter verse is split, with the second hemistich in triple-meter homophony, but once more an extended structure is built by repeating the duet and subsequent homophony at a fifth above. The response closes with all eight voices in triple-meter homophony except for the final cadence with its built-in retard by shifting back to duple meter. Throughout the response Cozzolani spices up the diatonic harmony with several strategically placed seventh chords. (notes by Jeffrey Kurtzman)
Warren Stewart, artistic director
Catherine Webster, soprano
Meg Bragle, alto
Jennifer Ellis Kampani, tenor (soprano)
Karen Clark, bass (alto)
Ruth Escher, soprano
Suzanne Jubenville, alto
Andrea Fullington, tenor (soprano)
Elizabeth Anker, bass (alto)
John Dornenburg, violone
David Tayler, theorbo
Hanneke van Proosdij, organ
Warren Stewart, conductor
Peter Watchorn, producer
Joel Gordon, engineer
Text & English Translation
V. Deus in adiutorium meum intende.
R. Domine ad adiuvandum me festina.
Gloria Patri et Filio:
et Spiritui Sancto.
Sicut erat in principio et nunc et semper:
et in sæcula sæculorum. Amen. Alleluia.
V. O God make speed to save me.
R. O Lord make haste to help me.
Glory be to the Father and to the Son:
and to the Holy Spirit.
As it was in the beginning, now, and for ever:
world without end. Amen. Alleluia.