Johannes Ciconia: Opera Omnia (2011)

Active in Venice and Padua at the beginning of the 15th century, Johannes Ciconia was undoubtedly the most important composer of this transitional period. Born in Liège and trained in the principles of the French and Italian Ars Nova, he played a considerable role in the musical development that led little by little towards the Renaissance.

His works are in all the forms current for the period: French chansons, Italian ballades and madrigals and Latin motets for particular occasions as well as individual movements from the Mass that proclaim the arrival of the form’s golden age in the 15th century. This recording of his complete works has been entrusted to two remarkable ensembles that are no strangers to Outhere’s catalogue: La Morra for the secular music and Diabolus In Musica for the sacred works and the motets for particular occasions.

Composer: Johannes Ciconia
Performer: Elizabeth Rumsey, Els Janssens, Hanna Jarvelainen, Javier Robledano Cabrer, …
Conductor: Michal Gondko, Corina Marti, Antoine Guerber
Orchestra/Ensemble: La Morra, Diabolus in Musica

Reviews: Ciconia has been recorded on single discs and anthologised. It’s just worth mentioning a few. One of the first was the Studio der Frühen Musik under Thomas Binkley on EMI Classics Reflex label (CDM 7 63442 2) in 1972 but re-released. Then much later, in 1983 Alla Francesca and Alta recorded nineteen pieces, some instrumentally on Opus 111 (OPS 30-101). Recently, the complete Motets have become available from Mala Punica under Pedro Memelsdorff (Erato 39874-21661-2) in typically eccentric but evocative performances recorded in 1998. Motets and songs have otherwise been anthologised by groups such as the Orlando Consort and the Dufay Ensemble. One can guess from all this that Ciconia, as this CD tells us is one of the key figures of the middle ages. Yet curiously he is less well known than the older Machaut and the younger Dufay. Indeed Christopher Page on his twenty or so CDs never recorded a note of Ciconia.

The thing that has always struck me about this music is how much more modern this music is even than Binchois or Dufay. There are tunes that repeat with a refrain ( Doctorum Principem) there is much sequential writing (Lizandra donna), imitation and echo ( Merçe o morte) canonic writing and brilliant hocketing (O Felix Templum). The Italian Ars Nova and French song are represented. Some songs are almost romantic. Some of the French sound English in their luminous tonality ( O Rose bella). There are isorhythmic motets and mass settings some of which might remind you of Lionel Power (d.1415). Ciconia is not part of the rhythmically complex Ars Subtilior generation. He is not as intricate as Dufay can sometimes be and Dufay was from a generation later. His emphasis is typically Italian and focuses on memorable melodic lines.

Forty pieces are recorded here and Ricercar have had the excellent idea of using two groups, La Morra for the secular and Diabolus in Musica for the sacred stuff. These groups are not unfamiliar with the repertoire or the record stores.

Much ink was spilt in the old days especially about Ciconia’s identity. It is now known that Ciconia’s father, also a Johannes was a musician and that he was born about 1335. In Gustave Reese’s iconic ‘Music in the Middle Ages’ (Dent, London, 1940) the younger man has just one mention: as Giovanni de Ciconia and with incorrect dates.

His varied career took him around Europe. Having been born in Liège he also worked alongside the mighty in Venice, Rome and Padua and under the pope Boniface IX; hence his varied output and the wide palette of styles.

These are in almost all ways the best and most consistently pleasing performances of his music I have yet met. There is a variety of instrumental and, for that matter, vocal colour. The secular works often use lute, viele and sometimes the curious clavicembalum one of the earliest of keyboard instruments. The latter is even given a solo song I cani sono fuora as well as sometimes accompanying the others. The members of Diabolus in Musica use instruments which demonstrate the more public background to the motets and mass settings. You can hear sackbuts and organ - for instance in the double-texted Venetum/O Petrus antistes inclite written, it appears, for Pietro Marcello possibly for his installation in Padua in November 1409.

Some of the songs are performed purely vocally often when in two parts as in Con lagreme. The texts are mostly anonymous but the delicious O rosa bella - also set by the Englishman John Bedyngham - is by Leonardo Giustinian (d.1446). In Sus un’ fontayne Ciconia quotes text and musical phrases as a homage to his contemporary Philipoctus de Caserta’s iconically complex Et attendant. These performances on CD 1 respect the music more than I have ever noticed before and allow it to flower naturally. Ciconia writes very expressively indeed and these singers recognize the fact and are not frightened to really feel the text through subtle dynamic contrasts and always-thoughtful phrasing. They never make an ugly sound.

Similarly the second CD is sensitively performed with the instrumental changes I mentioned above. Here we have several polytextual works like the isorthymic motet O virum omnimoda in cantus 1 Lux et decus Tranensium in cantus 2 and Beata Nichoilae in the tenor written for the installation of an archpriest of Padua cathedral. It’s a good idea to avail yourself of these texts beforehand and then to follow all three linear way; even better if you are a Latinist, a very difficult job for us in the 21 st century as we listen harmonically, in theory from the bass upwards. In the 15 th Century they probably listened across; it’s interesting that each line of text does indeed have a chance to speak if only briefly when the other is less active. Antoine Guerber presents it a capella for three male voices. Mala Punica (mentioned above) by contrast transpose it to incorporate a counter-tenor and even add bells and a slide trumpet at a climactic point. The tempo is faster and although I enjoy the performance in many ways, some of the dignity of the motets is lost – something of which Diabolus in Musica can at no point be accused. Equally contrasting is the three-part Gloria performed solemnly by three male voices under Guerber. Alla Francesca perform it up an octave and include a female voice on the top. It almost seems to be not the same piece.

A curious piece I had not met before is the Gloria: Suscipe Trinitatis - one of the longest tracks. The ordinary is set for four voices but the six quite extensive tropes alluding to the Trinity are just for two voices. I can find nothing out about its background.

Inevitably, there are some pieces which are less impressive - particularly some of Mass settings. Then again, just as you wonder if there could be a misattribution along comes a passage which quite clearly offers a Ciconia fingerprint.

O beatum incendium works very well as an organetto solo. This is one instrument, along with the sackbut that can be seen illustrated in contemporary manuscripts and paintings.

The tracks are well planned so that we move between female, male and then mixed voices always keeping the ear interested as you listen through the CD.

All texts are given and well translated. There is a general and quite lengthy essay on the composer by Philippe Vendrix. Another is entitled ‘To my Parents’ in which Jéróme Lejeune fascinatingly tells us how his parents influenced his lifelong passion for Ciconia and medieval culture in general. Michal Michal Gondko writes illuminatingly on the secular works and finally conductor Antoine Guerber briefly addresses the sacred works. We are also offered a list of possible motet dedications and dates. Everything in this generously filled set is nicely presented in a neat box adorned with a gorgeous painting by Jan Van Eyck.

I cannot praise these recordings too highly.

Tracklisting:

1. Una panthera, madrigal for 3 voices by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Orchestra/Ensemble: La Morra
Period: Medieval
Written: 1399; Europe
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 5 Minutes 30 Secs.

2. Sus une fontayne, for 3 voices by Johannes Ciconia
Performer: Elizabeth Rumsey (Vielle), Els Janssens ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 7 Minutes 47 Secs.

3. Che Nel Servir Anticho for 3 voices by Johannes Ciconia
Performer: Elizabeth Rumsey (Vielle), Els Janssens ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 3 Minutes 10 Secs.

4. Le ray au soley!, canon by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Orchestra/Ensemble: La Morra
Period: Medieval
Written: 1390s; Italy
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 1 Minutes 32 Secs.

5. Caçando un giorno by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 2 Minutes 42 Secs.

6. Per Quella Strada Lactea for 2 voices by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Orchestra/Ensemble: La Morra
Period: Medieval
Written: Europe
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 4 Minutes 44 Secs.

7. Con lagreme bagnandome nel viso, for 2 voices by Johannes Ciconia
Performer: Hanna Jarvelainen (), Javier Robledano Cabrer ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Written: 1406
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 5 Minutes 13 Secs.

8. Chi vole amar, ballata by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 2 Minutes 29 Secs.

9. Dolce fortuna, for 2 voices by Johannes Ciconia
Performer: Eve Kopli (), Javier Robledano Cabrer ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 3 Minutes 27 Secs.

10. Gli Atti Col Dançar Frances for 3 voices by Johannes Ciconia
Performer: Hanna Jarvelainen ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Written: France
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 2 Minutes 8 Secs.

11. La fiamma del to amor, for 2 voices by Johannes Ciconia
Performer: Hanna Jarvelainen (), Javier Robledano Cabrer ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Written: circa 1406
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 3 Minutes 12 Secs.

12. Poy che morir, ballata by Johannes Ciconia
Performer: Javier Robledano Cabrer (), Els Janssens ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Written: Europe
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 5 Minutes 19 Secs.

13. Aler m'en veus, virelais by Johannes Ciconia
Performer: Corina Marti (Recorder), Eve Kopli ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Written: Europe
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 4 Minutes 45 Secs.

14. I cani sono fuora, for 2 voices by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 2 Minutes 46 Secs.

15. Ligiadra Donna Pour Vielles by Johannes Ciconia
Conductor: Michal Gondko, Corina Marti
Orchestra/Ensemble: La Morra
Period: Medieval
Written: Europe
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 4 Minutes 16 Secs.

16. Merçé o morte by Johannes Ciconia
Performer: Javier Robledano Cabrer (), Eve Kopli ()
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 3 Minutes 42 Secs.

17. O Rosa Bella, ballata by Johannes Ciconia
Performer: Javier Robledano Cabrer (), Hanna Jarvelainen (), Elizabeth Rumsey (Vielle)
Conductor: Michal Gondko, Corina Marti
Period: Medieval
Written: after 1405; Europe
Date of Recording: 01/2010
Venue: Künstlerhaus, Alte Kirche, Boswill
Length: 5 Minutes 52 Secs.

18. Regina gloriosa, motet by Johannes Ciconia
Performer: Guillermo Pérez (Organetto)
Conductor: Antoine Guerber
Period: Medieval
Written: Europe
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 1 Minutes 54 Secs.

19. O Petre Christi discipule, madrigal contrafactum by Johannes Ciconia
Performer: Estelle Nadau (), Aï Lund-Lavoipierre ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 15 Secs.

20. O beatum incendium by Johannes Ciconia
Performer: Guillermo Pérez (Organetto)
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 2 Minutes 23 Secs.

21. Quod Jactatur for 3 voices by Johannes Ciconia
Performer: Olivier Germond (), Aï Lund-Lavoipierre (), Emmanuel Vistorky (Bass Baritone)
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 1 Minutes 33 Secs.

22. Petrum Marcello Venetum/O Petre Antistes Inclite, motet by Johannes Ciconia
Performer: Estelle Nadau (), Aï Lund-Lavoipierre ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 12 Secs.

23. O Virum Omnimoda (O Lux et Decus / O Beate Nicholaë), motet by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 2 Minutes 25 Secs.

24. Ut te per omnes/Ingens alumnus Padue by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Written: after 1397; Europe
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 2 Minutes 56 Secs.

25. Gloria No. 3 by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 17 Secs.

26. Credo No. 4 by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 4 Minutes 5 Secs.

27. Gloria "Spiritus et alme" for 4 voices by Johannes Ciconia
Performer: Emmanuel Vistorky (Bass Baritone), Raphaël Boulay (), Olivier Germond ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 4 Minutes 51 Secs.

28. Venecie mundi splendor, motet by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 9 Secs.

29. Gloria (with Suscipe Trinitas, trope) for 3 voices by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Written: 1390s
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 6 Minutes 43 Secs.

30. O felix templum jubila, motet by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Written: 1402
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 33 Secs.

31. Gloria No. 9 by Johannes Ciconia
Performer: Raphaël Boulay (), Emmanuel Vistorky (Bass Baritone), Olivier Germond ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 4 Minutes 32 Secs.

32. Doctorum Principem/Melodia Suavissiama/Vir Mitis, motet by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Written: 1409-1411; Europe
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 2 Minutes 57 Secs.

33. Gloria No. 1 by Johannes Ciconia
Performer: Raphaël Boulay (), Olivier Germond (), Philippe Roche ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 48 Secs.

34. Credo No. 2 by Johannes Ciconia
Performer: Emmanuel Vistorky (Bass Baritone), Raphaël Boulay (), Olivier Germond ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 5 Minutes 51 Secs.

35. Albane, misse celitus/Albane, doctor maxime by Johannes Ciconia
Performer: Estelle Nadau (), Guillermo Pérez (Organetto), Aï Lund-Lavoipierre ()
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 11 Secs.

36. Credo No. 10 by Johannes Ciconia
Conductor: Antoine Guerber
Orchestra/Ensemble: Diabolus in Musica
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 5 Minutes 59 Secs.

37. Gloria No. 8 by Johannes Ciconia
Performer: Aï Lund-Lavoipierre (), Guillermo Pérez (Organetto)
Conductor: Antoine Guerber
Period: Medieval
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 2 Minutes 41 Secs.

38. O Padua, Sidus Praeclarum, motet by Johannes Ciconia
Performer: Raphaël Boulay (), Emmanuel Vistorky (Bass Baritone), Olivier Germond ()
Conductor: Antoine Guerber
Period: Medieval
Written: circa 1405; Europe
Date of Recording: 09/2010
Venue: Collégiale de Champeaux
Length: 3 Minutes 14 Secs.




Thanks to the original releaser