Thursday 20 October 2016

Religion Doesn't Always Have To Be Solemn

It's not always what you know, but who you know.  Through a relative of one of the performers I was given a copy of a lovely new CD from the Canadian ensemble Capella Intima, of some most unusual vocal pieces from the Italian baroque.
 
The programme notes in the booklet go into great detail about the probable (and unusual) circumstances under which these canzonette (songs) were written and performed.  For our purpose, it's sufficient to point out that the song-form known as a canzonetta was normally a secular song, a lively tune that danced along or a more mournful one that drooped its way from one sad phrase to the next, and with words that were not only secular but could be downright earthy.
 
So what is one to make of a collection of Canzonette Spirituali, e Morali?  The volume, published anonymously in 1657, is believed to be the work of Francesco Ratis who was a priest and church organist in Chiavenna in the far north of Italy, right up against the Swiss border.  They're real canzonette, too, making extensive use of popular melodies and dance tunes of the day.  The texts are something else altogether.  The singers join their voices in vivid, emotional language in addressing all facets of the individual's relations with God -- and in mocking the sinner who refuses to come to God and seek forgiveness.  The Song of Songs from the Bible supplies the inspiration for many of the texts, which share its characteristic sensual imagery.
 
Not only that, but the publication includes notation for the use of a guitar, an instrument that was proscribed as unfit for church use by many Catholic authorities of the day.  Again, the programme notes give a clear picture of how such an extraordinary musical black sheep could come into existence.  I'm more concerned about the music itself.
 
It's an absolute delight.  Right from the vigorous cross-rhythmic opening of Poverello, che farai?, the upbeat style of the performance captivated me.  Dreary and dull this music this is not!  The faster numbers will set your toes tapping, while the slower songs offer hauntingly beautiful melodies.  Throughout the disc there's a lovely, clear sound from all four singers, the voices beautifully matched.  Interpretive touches in phrase shaping and dynamics are subtle and sensitively applied.  The recording is well-nigh perfectly balanced between voices and instrumental accompaniment.
 
Director Bud Roach supplies the tenor voice and the baroque guitar accompaniment.  Soprano Sheila Dietrich, alto Jennifer Enns Modolo, and baritone David Roth complete the ensemble. 
 
The programme is carefully arranged so that the character of the music shifts from one number to the next, providing great variety.  Solo voices alternate with duos, trios, and quartets -- often within the same song.  Over an hour of delightful, involving music-making slides by almost before you're aware of the time passing.
 
Half the fun of this music is being able to contrast the sung texts with the musical character of the melodies and rhythms.  This is not music which has to exactly illustrate the words, and indeed some of the best numbers are the ones in which dark, daunting words are set to bright, lively dance tunes.  In a useful compromise, the leaflet includes complete English translations of the texts, and gives the web address where the complete Italian original texts can be downloaded.

In the end, you come away with the distinct impression that this was music aimed at younger people, and was designed to quash any notion that faith and religion have to be dull and dreary.  These lively tunes would certainly accomplish that objective, and the performers definitely capture the innate vigour and playfulness of the music.  You can download this delight from the website of the Musica Omnia label.