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Francesco Bianciardi (1570 - 1607)Missa Octum VocumLabel: Warner Fonit, 8573 81476-2
Year: 1997
Performers:Coro da camera Festina Lente
Schola Gregoriana
Complesso Armonia Antiqua
Federico del Sordo - organ
Michele Gasbarro -director
Tracklist:01. Praeludium Ante Missam: Ricercare III
02. Ad Ingressum Epischopi In Ecclesia: Ecce sacerdos magnus
03. Ad Introitum: Puer natus est
04. Kyrie
05. Gloria
06. Graduale: Viderunt omnes
07. Alleluia: Dies Sanctificatus
08. Credo
09. Ad Offertorium: Tui sunt coeli
10. Hodie nobis
11. Fantasia III
12. Sanctus
13. Ad Elevationem: Ricercare VI
14. Agnus Dei: miserere/miserere/Dona nobis pacem
15. Ad Communionem: Viderunt omnes
16. Dum medium
17. Fantasia, ut, re, mi, fa, sol, la
18. Ad Finem: Ricercare IV
Francesco Bianciardi (c1570-1607) was a virtuoso organist and celebrated composer in his day, employed for most of his life (he was only in his mid-thirties when he died) as Maestro di cappella at Siena Cathedral. In 1609 no less an authority than Adriano Banchieri named Bianciardi, along with his better-known contemporaries Agazzari (who followed him as organist at Siena Cathedral) and Viadana, as one of the greatest composers of the time. Bianciardi was also the author of a short treatise on figured bass and continuo playing, and a member of Siena's most important 'academy' (under whose auspices groups of aristocratic dilettantes met to pursue their interest in the arts), the Accademia degli Intronati. Bianciardi would have received a solid training in the contrapuntal technique of Palestrina, but was evidently also influenced by the polychoral writing of Venetian composers, combining these two elements with his own voice to create what the booklet notes quite rightly describe as an 'agile and sparkling' style.
This setting of the Mass for eight voices was published in Bianciardi's first (and only) book of Masses in Venice in 1605. The Ordinary movements are set polyphonically, those from the Proper either chanted or replaced by short four-voice items. This music is very appealing, characterized by short, rhythmically animated and often syllabic phrases, antiphonal dialogue between groups of voices, frequent contrasts between reduced and full textures, and a harmonic language that is generally more tonal than modal. The broad splendour of the Venetian 'cori spezzati' style is particularly clear in the settings of the Sanctus (track 12) and Agnus Dei (track 14). The performances on this disc are lively and well paced, using several singers per part for all except tracks 10 and 16, which are for four solo voices.
The vocal items are interspersed with three organ ricercares (rendered in the frequently wayward translation of what would otherwise be quite a scholarly booklet note as 'organ researches') and two fantasias for four recorders, Fantasia III (track 11) a beautifully chromatic maze and Fantasia ut, re, mi, fa, sol, la (track 17) providing opportunities for virtuoso embellishment of the rising hexachord theme. Our impressions of late sixteenth-century Italian sacred music tend to be dominated by the works of a few 'masters', most of them based in Rome. It is important to remember that many other towns also enjoyed a flourishing musical life, and this disc of the little-known Bianciardi's music is a very welcome addition to the repertory. 
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Coro da Camera Festina Lente / Francesco Bianciardi - Missa Octum Vocum
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Track 1
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Track 2
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Track 3
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Track 4
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Track 5
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Track 6
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Track 7
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Track 8
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Track 9
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Track 10
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Track 11
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Track 12
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Track 13
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Track 14
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Track 15
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Track 16
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Track 17
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Track 18
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