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Psalmi ad Vesperas (1694)
Track Listings:
1.
Deus in adjutorium meum intende [Versicle - Gregorian Chant]

Domine ad adjuvandum me festina [Responsory]

2. Dixit Dominus [Psalm 109]
3. Confitebor tibi Domine [Psalm 110]
4. Beatus vir [Psalm 111]
5. Laudate Dominum omnes gentes [Psalm 116]
6. Nisi Dominus [Psalm 126]

7.
Magnificat anima mea Dominum [Canticle of the Blessed Virgin, Luke 1:46-55]

WORLD PREMIERE RECORDING Experience the splendor of late 17th-century sacred music in northern Italy. Giovanni Paolo Colonna's monumental Vespers were composed in 1694 for a grand festival at the Basilica of St. Petronio in Bologna. This dramatic piece was hidden away for centuries in the archives of Westminster Abbey and the Central Library of Zürich, and has only recently come to light. The Houston Chamber Choir's performance of the work in the fall of 2011 was the first in modern times.

Houston Chamber Choir gratefully acknowledges the Web Library of Seventeenth-Century Music, Alexander Silbiger, General Editor, for the modern edition of Colonna's Psalmi ad Vesperas, edited by Pyrros Bamichas. www.sscm-wlscm.org

The Latin texts are taken from the Liber usualis (edited by the Benedictines of Solesmes, Tournai, 1953); translations are taken from the Saint Andrew Daily Missal (edited by Dom Gaspar Lefebvre, O.S.B., of the Abbey of St.-André, Bruges, 1954). Both are provided in the modern edition by Pyrros Bamichas.

The choral singing of the Houston Chamber Choir is right on pitch, with a full and expansive sound, adding considerable depth to the music…This is one recording that Baroque music lovers will need to have in their collection.
Bertil van Boer, FANFARE

All hail to this CD, then, for bringing Colonna back to our minds and ears with these fine renditions of psalm and canticle settings from the composer's final Vespers collection of 1694.
James A. Altena, FANFARE

This music has all the florid splendor of the high Baroque in Northern Italy, and what a delight it is the hear it! I daresay that Colonna's music will now become a staple in modern concert-audience ears and Simpson's ensemble brings it to live impeccably. The solo singing, the chorus singing, and the stylistic instrumental playing are all superb. It is like taking a trip to Italy to bathe in the sound.
Jonathan E. Dimmock, The Journal of the Association of Anglican Musicians


Psalmi ad Vesperas (1694) for five soloists, choir, and strings, Opus 12 (1694) Edited by Pyrros Bamichas Giovanni Paolo Colonna

HOUSTON CHAMBER CHOIR
ROBERT SIMPSON

HOUSTON CHAMBER CHOIR
FESTIVAL ORCHESTRA

Melissa Givens, soprano
Kelli Shircliffe, soprano
Ryland Angel, countertenor
Eduardo Tercero, tenor
Matthew Treviño, bass

HOUSTON CHAMBER CHOIR

Sopranos: Lisa Borik, Penelope Campbell, Kammi Estelle, Stephanie Handal, Briana Kruse, Hallie Reed, Lynelle Rowley, Stacey Weber

Altos: Andrea Brown, Gerald Caliendo, Jennifer Gallagher, Daria Myers, Marianna Parnas-Simpson, Ryan Stickney

Tenors: L. Wayne Ashley, Dominick DiOrio, Francisco Espinoza, Jesse Obbink, Jeffrey Ragsdale, Andrew Willits

Basses: Mark Edenfield, Felipe Gasper, Jeffrey Van Hal, Randolph Wagner, Michael Walsh, Joshua Wilson

ORCHESTRA

Violin I: Alan Austin, Sean Wang
Violin I: Noel Martin, Nadia Lesinska
Viola: John Randolph, Alicia Valoti
Viola da gamba: James Brown, Brady Lanier
Violoncello: Farley Pearce, Matthew Dudzik
Violone: Deborah Dunham
Baroque harp: Becky Baxter
Theorbo: Richard Savino
Organ: Matthew Dirst


 
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