ORAZIO VECCHI (1550-1605)
Requiem
Rubens’s funeral and the Antwerp Baroque

Missa pro defunctis
01 Orazio Vecchi: Requiem aeternam (a 8)
02 Orazio Vecchi: Kyrie (a 8)
03 Orazio Vecchi: Si ambulem (a 8)
04 Orazio Vecchi: Dies irae (a 4 & 8)
05 Orazio Vecchi: Domine Jesu Christe (a 8)
06 Orazio Vecchi: Sanctus (a 8)
07 Orazio Vecchi: Agnus Dei (a 8)
08 Orazio Vecchi: Lux aeterna (a 8)
09 Paolo Bravusi (1586-1630): Libera me Domine (a 8)
(in: Missae senis et octonis vocibus. Phalèse II, Antwerp, 1612)

10 George de La Hèle (1547-1586): Kyrie (a 6)
11 George de La Hèle: Sanctus (a 6)
12 George de La Hèle: Agnus Dei (a 6 & 7)
(from: Missa Praeter rerum seriem; in: Octo missae. Plantin, Antwerp, 1578)

13 Pedro Ruimonte (1565-1627): Agnus Dei (a 5 & 6)
(from: Missa Ave Virgo Sanctissima; in: Missae sex IV. V. et VI. Vocum. Phalèse II, Antwerp, 1604)

14 Duarte Lobo (c.1565-1646): Agnus Dei (a 4 & 6)
(from: Missa Dum aurora; in: Liber II missarum. Plantin, Antwerp, 1639)

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About this CD

For his latest Glossa CD with Graindelavoix, Björn Schmelzer takes his lead from the funeral rites for the Flemish Baroque painter Peter Paul Rubens in 1640 – which might well have encompassed the Requiem Mass by Orazio Vecchi as recorded here – to demonstrate the coexistence in Baroque Antwerp of two apparently contradictory, but interconnected facets.

One of these facets was the continuing presence of prima prattica polyphony; the city was a major centre for music printing and Vecchi’s Requiem was brought out there – as were works by other composers represented on this disc: George de La Hèle, Duarte Lobo and Pedro Ruimonte (the recording ends with three successive Agnus Deis!). The other facet is that of the image of Rubens’s art: full of energy, seductive, optimistic and scintillating. The Northern Baroque par excellence.

With his recording, intriguing booklet essay (about the “Baroque in disguise”) and selection of pictorial images, Schmelzer encourages the listener/reader to enter into this strange world of artistic clashes and ruptures – not least the fact that Vecchi, a composer better known for his secular music popular in Venice, would have had his stile antico sacred music performed in Antwerp. This is achieved with Graindelavoix’s customary uncompromising – and clearly provocative – vocal sound, complete with both artfully-executed ornamentations and attention to ensemble needs.