VA - Colonna: Triumphate Fideles Complete Motets for Solo Voice and Instruments (2015)

Tracklist:

CD 1
01 - 06] Ecce iubar, ecce aurorae, GPC19
07 - 12] O lucidissima dies, GPC21
13 - 16] O ingens divini presulis munus, GPC28
17 - 21] Ad gaudia gentes, GPC26
22 - 27] Ad pugnas fideles, GPC22
28 - 35] Sacri amoris ad ardores, GPC30

CD 2
01 - 04] O sidera, o coeli, GPC27
05 - 10] O coeli devota, GPC25
11 - 18] Triumphate fideles, GPC29
19 - 24] Gaudete, cantate, GPC24
25 - 31] Ad novum caeli iubar, GPC23
32 - 35] Ad amores, ad honores, GPC20

Giovanni Paolo Colonna (1637-1695) was a native of Bologna and the music director of one of its major churches, dedicated to San Petronio, where he presided over a rich culture of sacred music distinguished by participation from names now far better known to us such as Torelli, Bononcini and Giovanni Gabrieli. This valuable set brings together for the first time on record all his surviving compositions in the form of the sacred motet which was so popular as an extra-liturgical contribution (perhaps performed as offertory or communion music) towards worship, featuring the skills of what must have been highly skilled singers as well as a rich continuo section.

Colonnas music has received relatively little attention on record until now, though Philippe Jaroussky concluded a 2009 album with the gorgeous O coeli devota, and there is one other, older recording of several other motets, as well as a larger-scale oratorio. So the time is now right to reassess his contribution and his own voice, with excellent new, historically informed performances led by Carlo Centemeri, who has already brought several rarities from the Italian Baroque to Brilliant Classics, including music by Albinoni (BC94852) and Bassani (BC94259), which received 5 star reviews in Amadeus and Diapason.

These motets are multi-movement works, scarcely dwelling for long on any one emotion or text, even in the arias, but moving pacily though narratives of repentance, devotion and praise, and mostly concluding with exuberant Allelujas, much as Bach would fashion his Jauchzet Gott BWV51 for solo soprano in the Italian style a generation later. Anyone with even a passing interest in the Italian Baroque and its charming byways will want to hear this.

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