Valentini’s Missa Diligam te Domine a 12
VOICES & INSTRUMENTS
Tutor: Philip Thorby
Didsbury Baptist Church, Manchester
Reviewer: Bryan Au Yeung
Nearly sixty singers and instrumentalists gathered at Didsbury Baptist Church for another round of early music fun, welcoming Philip Thorby to guide us through the musical genius behind Missa Diligam te, Domine a 12 by Venetian Renaissance composer Giovanni Valentini (ca. 1582 – 1649). The piece got its name for being a parody of the motet Diligam te Domine a 8 composed by his teacher, Giovanni Gabrieli (1554 / 1557? – 1612).
We first began working on the Gloria – Philip decoded the text with us and guided us through on creating musical shape and directions by introducing the different vocal qualities of singing Renaissance music:
– Soave – sweet and gentle; elegant
– Mediocre – moderate, neutral; not too loud in volume
– Vivacemente – very lively; joyous
– Appassionato – passionate; with intensity
– Solennità – solemn declamation; with grandeur
– Esclamazione – exclamation; with excitement, energetic
With much exploration of transitioning between different qualities, the tone and colour that we delivered were evidently richer than adopting the usual approach of dynamic contrast.
The Credo is the part of the liturgy where the fundamental articles of beliefs of Christianity is stated. Nowadays, it is a rarity to have the opportunity to sing the Credo from Renaissance mass settings because of its length; However, we were very lucky to have time to sing the Credo with beautiful accompaniment of viols, recorders, sackbuts and the dulcian.
After lunch we returned continuing to the Crucifixus section of the Credo. The texture of the Crucifixus, compared to other sections and movements was thin as Valentini wrote this for one choir only. The second and third choirs joined in later, singing in imitation and reiterating the thematic incipits of the original motet. Finally, after working much on making musical entries energetically and accurately for the Et iterum section and the remainder of the Credo, we examined the final Amen, a recapitulation of the Amen from the Gloria where we looked out for the transitions between tactus aequalis and tactus inaequalis.
We closed this wonderful day by singing through the Sanctus and Kyrie.
A Vote of Thanks: A big thank you to Philip for his energetic and expert direction, and the NWEMF Committee for all the hard efforts behind the scenes. Finally, we are very grateful to members who shared their baking talents with attendees by letting us indulge in delicious lemon drizzle cakes and ginger fruity flapjacks.
For Your Interest: Music Recommendations
If you are thirsting for more Giovanni Valentini, you certainly be delighted to know mainstream music streaming platforms do provide albums featuring his music!
Valentini: Motets and Madrigals for 2 Sopranos Ilaria Geroldi, Marina Morelli, Stefano Molardi & La Moderna Prattica
Valentini: Secondo libro de madrigali Les Canards Chantants & A. C. R. O. N. Y. M.
Valentini: Musiche Concertate 1619 Markus Brutscher, Harry van der Kamp, Capella Ducale, Cologne Musica Fiata & Roland Wilson.
Bryan AU YEUNG
First published in June 2025 Newsletter
