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Maurizio Cazzati (1616–1678)
A Sei Voci
Bernard Fabre Garrus (Direction)
01. Invitatorio a 5 - Regem cui omnia vivunt
02. Primo Salmo a 5 - Verba mea auribus percipe Domine
03. Secundo Salmo a 3 voci - Domine, ne in furore
04. Terzo Salmo a 5- Domine Deus meus, in te speravi
05. Prima Letione a voce sola - Parce mihi Domine
06. Primo Responsorio a 5 - Credo quod Redemptor
07. Seconda Letione a 2 voci - Taedet animam meam
08. Secondo Responsorio a 5 - Qui Lazarum resuscitasti
09. Terza Letione a basso solo accompagnata da 5 istromenti se piace - Manus tuae
10. Terzo Responsorio a 5 - Domine, quando veneris
11. Messa concerta a 5 - Introïtus - Requiem aeternam
12. Messa concerta a 5 - Kyrie
13. Messa concerta a 5 - Sequentia-Dies irae
14. Messa concerta a 5 - Offertorio - Domine Jesu Christe
15. Messa concerta a 5 - Sanctus - Benedictus
16. Messa concerta a 5 - Moletto per la elevatione a 3 voci -Recordare, o homo quia pulvis
17. Messa concerta a 5 - Agnus Dei - Lux aeterna
18. Messa concerta a 5 - Libera me
Cazzati was born in Luzzara in the Duchy of Mantua. In spite of being almost unknown today, during his lifetime he served as a successful music director in many cities near his birthplace, including Mantua, Bozzolo, Ferrara and Bergamo, where he was succeeded by Pietro Andrea Ziani.[1] He was so well-thought-of that in 1657 he was invited to take the position of maestro di cappella of San Petronio Basilica in Bologna, without needing to apply for it. Immediately after his appointment, he made some radical reforms that won him a general hostility from the musical community, and led to personal conflicts with other members of the cappella. In particular, he was bitterly criticized by Lorenzo Perti (the uncle of Giacomo Antonio Perti) and Giulio Cesare Arresti, who questioned his capability as maestro. Likely, as Cazzati later declared, they were just jealous of his position. In 1671, he left this position, and returned to Mantua, where he served the Duchess Isabella as Maestro di Cappella da Camera until his death. While being only a small portion of his enormous printed output (66 printed volumes), his instrumental music is nowadays considered the most important and influential part. His op. 35 (1665) contains the first known example of a trumpet sonata.
