2 Cornetti, 2 Violins, 3 Trombones, Organ, Theorbo

In the thriving 17th century trade city of Hamburg, instrumental music centered around the Ratsmusik. Though these council musicians were at first less highly regarded than church musicians, under the leadership of William Brade and Johann Schop this situation changed rapidly. Brade, in particular, coming to Hamburg from England by way of the court chapel of Christian IV in Copenhagen, transformed the idiom of English consort dance music into an elaborate personal style, incorporating italianate elements as well. In this program Concerto Palatino will put a spotlight on Hamburg by alternating these entertaining works of Brade and Schop with virtuoso ensemble music of the latter part of the century. Matthias Weckmann and Johann Theile both wrote elaborate, highly expressive and fiendishly difficult sonatas for a mixed ensemble of string and wind instruments. They offer a stark contrast to the foot-tapping Galliards and the poignant Pavans of the earlier composers.

Giovanni Gabrieli: Canzoni, Sonate e Motetti

2 Cornetti, 2 Violins, 6 Trombones, 2 Organs

Giovanni Gabrieli was without doubt the greatest composer of the Venetian high Renaissance. The cornettists and trombonists he had at his disposal were among the best to be found anywhere, and their virtuosity is clearly reflected in the music he wrote for them. While his sacred concerted music was more influential in the long run, it is the instrumental music he wrote for these players which probably reached the highest artistic level and has the greatest power to touch modern audiences.

2 cornetti, 2 violins, 4 trombones, organ

Performed for the inauguration of the newly restored Antegnati organ in the basilica of Santa Barbara, Mantova.

Music by Gio. Gabrieli, Amante Franzoni, Ottavio Bargnani, Girolamo Cavazzoni, Francesco Rovigo, Gio. Battista Grillo, and others.

2 cornetti, 2 violins, 4 trombones, organ

Recently performed in Rosenborg Castle, summer palace of Christian IV.

From the time that Christian IV sent four of his musicians to Venice to study with Giovanni Gabrieli, his musical chapel had close ties to the Serenissima, as the Venetian Republic called itself. We play Venetian canzonas of Gabrieli and his contemporaries Giovanni Battista Grillo and Gioseffo Guami alongside motets and madrigals by Gabrieli’s outstanding Danish pupil Mogens Pedersøn and music of John Dowland.