Sanctum Desiderium
Works from Buxtehude, Förtsch, Kerll, Krieger and Schmelzer

Musæ Jovis – Pieter De Moor

CAT.NR.: SONA1609 FORMAT: CD.

hoes-sanctum-desiderium
Order

CD1

  1. Dieterich Buxtehude
    Quemadmodum desiderat cervus
    Chiaccona a 3, BuxWV 92 (6:54)
  2. Johann Philipp Förtsch
    Aus der Tieffen
    Concert a 4 Violin,Viol di gamba, Soprano e Continuo (7:57)
  3. Johann Kaspar Kerll
    Trio Sonata (8:07)
  4. Johann Philipp Krieger
    Herr, auf dich trau ich
    from: Musicalischer Seelen-Friede, Nürnberg 1697 (13:09)
  5. Der Herr ist mein Hirt
    from: Misericordias Domini, 1690 (7:40)
  6. Johann Heinrich Schmelzer
    La Bella Pastora (8:35)

total time: 52:26

Recorded on June 26th, 27th, 28th, 2015, at Beaufays Abbey, Belgium.

Engineered, recorded, edited and mixed by Jo Cops.

Produced by Mark Steyaert.

Album includes a 44-page booklet with extensive notes and listening guide
in four languages.

THE WORK

“Tota vita christiani boni, sanctum desiderium est.” “The whole life of a good Christian, is sacred desire.” (Saint Augustine, In Epistolam Ioannis ad Parthos tractatus decem 4.6)

These words of Church Father Augustine of Hippo, a saint in the Catholic and Anglican traditions and a theological father for many Protestants, comprehend the devotion that underlies many religious musical compositions.

Even though Augustine was not undividedly in favour of music for religious purposes (in his Confessions, he warns against music as mere gratification of the senses instead of as a means to convey divine truth), he himself certainly enjoyed music, especially hymns, because he felt that the combination with text increased his devotion. Early baroque composers, then, were very much in favour of combining new musical styles with sacred texts in order to arouse the affects of their audience. The aim of their aesthetic was to convey these idealised emotional states (joy, sadness,…) on the listeners. For that, they used rational, objective principles comparable to those of rhetorics, the basic elements of the ancient art of oratory that has the same objective.

The innovative Italian styles of opera and oratorio, based on these rhetorical concepts, spread quickly throughout Europe, and especially in the Germanic
regions the models were diligently developed. The program of Sanctum Desiderium is a careful selection of seventeenth-century German compositions that feature the literal expression of sacred desire as well as its translation into musical imagery.

THE PERFORMERS

“Musæ Jovis ter maximi proles canora, plangite” .

This is the start of a six-voice motet composed by Nicolas Gombert (1495 – 1560) as an epitaph on the death of Josquin Desprez. Gombert’s invocation of the divine muses, the sources of artistic inspiration in poetry and music of antiquity, recalls the intent of early baroque composers to return to the ideals of ancient theatre. Composers started paying particular attention to audibility and expressivity of the word. A return to their music in the twenty-first century means, following the muses, to combine reflexion and imagination in all musical activity.

The combination of these qualities is the aim of the young early music soloist ensemble, Musae Jovis, in their explorations of known and unknown repertoire of the seventeenth and early eighteenth centuries. Musae Jovis was brought together in 2015 by and around tenor Pieter De Moor and comprises 2 violins, viola da gamba, theorbo and organ or harpsichord. Having met between the highly recognised conservatoires of Belgium (Brussels & Leuven), the diverse talents and versatility of the members promise an ever interesting energy.

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