Salomone Rossi: Jewish Polyphony at the Gonzaga Court

Only four of the 16 tracks are Jewish liturgical music, and are mostly sung in a neat but dreary fashion. The instrumental performances are best, though embellishments sometimes sound over-fussy — BBC Music Magazine, May 2013, 3 out of 5 stars More…

Release Date: 11th Mar 2013
Catalogue No: GCDC80006
Label: Glossa
Series: Cabinet

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Rossi, S: Sinfonia a 5

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Ornasti il veggio - prima parte

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Gia del volto - seconda parte

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Keter

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Gagliarda a 5, detta la Massara

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Rimanti in pace!: Prima parte

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Ond'ei di morte - Seconda parte

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Sinfonia grave a 5

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Tu parti, ahi lasso

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

Rossi, S: Cor mio, deh non languire

Katelijne von Laethem, Pascal Bertin, Eitan Sorek, Josep Benet
Ensemble Daedalus
Roberto Festa

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Salamone Rossi was active at the court of the Gonzaga family in Mantua at the turn of the 17th century as violinist and composer. He achieved fame through the music he composed in the most modern styles of the time, but in his later years he also applied the old-fashioned polyphonic principles to the liturgy of his own people, a move that was as controversial as it may have been popular.

“The present program shows all facets of the oeuvre of Salomone Rossi (c.1570-c.1630), from madrigals to instrumental works and pieces for the Jewish liturgy. There is an emphasis on Rossi's role in developing continuo practices, and his work certainly shows a concern for these issues. In addition, the Jewish liturgical music is particularly unique and worthy of note. The style is somewhat simpler and more syllabic, but certainly in line with Rossi's other music, especially some of the instrumental works. The present liner notes also suggest that Rossi's interest in music for the Jewish temple, with its syllabic monophonic tradition influenced his ideas on the developing monody, and consequently those developments as a whole.

There was some controversy at the time about whether polyphonic settings (for between three & eight voices) were welcome in the Jewish temple. Nonetheless, they are fast becoming classics today, and show a glimpse into one of the rare periods in which Jewish & Christian culture interacted strongly and without ill feelings.” (Medieval.org)

Recorded in Ghent, 1996

Reviews

May 2013

Only four of the 16 tracks are Jewish liturgical music, and are mostly sung in a neat but dreary fashion. The instrumental performances are best, though embellishments sometimes sound over-fussy

Salomone Rossi: Jewish Polyphony at the Gonzaga Court

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