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Luca Marenzio
c.1553 - 1599
Italy
Picture
L. Marenzio
Luca Marenzio (ca.1553 - 1599) was an Italian composer. As a chorister at Brescia cathedral he studied with Giovanni Contino (c.1513-1574). As from 1578 Marenzio served for nine years Cardinal Luigi d'Este in Rome as musician and later as a choirmaster. At that time making contacts at the Cardinal's brother's court in Ferrara. Marenzio worked in Florence in 1588-9 and contributed to the music performed at a celebrated court wedding of 1589. He worked in Rome and in 1594 Marenzio was employed by Cardinal Aldobrandini. The following year the Cardinal arranged his appointment to the King of Poland, at whose court in Warsaw he worked as maestro di cappella in 1596-1598. By the time of his death one year later Marenzio returned in Rome as a Papal court musician. Marenzio had a large output of his work among others 500 madrigals and 80 villanellas and he published two books of about 75 motets. Marenzio passed away in Rome 1599.
Author:Wim Goossens
Contributor:Tassos Dimitriadis (picture)
Domine, quando veneris
Period:High Renaissance
Composed in:1582c
Musical form:Motet ŕ 5 vocibus inaequlibus
Text/libretto:Latin from a Responsorium de Officium Defunctorum
Duration:9’45”
Label(s):DTR 2014
Domine, quando veneris is a plainchant from the Responsorium de Officium Defunctorum Ad Matutinum and de text is set by Luca Marenzio for five voices (CATTB). The Domine, quando veneris is an old Responsorium, Respond and still published in the old Liber Usualis page 1787 and is sung after Lectio III in the Office of the Dead. This motet (in total 144 bars) consisting out of the Respond and the corresponding Versicle ‘Commissa mea’ is written by Marenzio for five voices in polyphonic imitative style. The prima parte/first part of the Respond contains 75 bars and ends in D-major. Marenzio starts in homophonic style with “Domine” but the middle part and end of the first part are lively – in madrigal style - set. Marenzio uses some flats in this part of the motet to express his feelings and writes it in a more motion style as already mentioned with full of movements (bars 45-75) in this first part. The Versicle – set in secunda parte - starts more in the imitative style with Cantus, followed by Alto, Quinto (TI), Bassus and Tenor. This part contains 69 bars and ends in A-major! In the secunda parte the lively movements in all voices starts in bar 91 up to the end. Due to the normal practices Marenzio repeats from bar 118 the in the Roman rite prescribed part of the Respond, as we saw for instance with Jacob Regnart ( 1540-1599) and Jacobus Clement – non papa - (c.1510-1556) settings. Luca Marzenzio uses all the text in the same way but he omitted the normally sung Requiem aeternam etc. In the last ten bars of each closing (prima parte & second parte) Marenzio uses nearly the same lines over all parts but ends in a different way D-major (prima) and A-major (secunda). This Respond is published post mortem in Cantiones Sacrae, Giovanni Maria Piccioni, Venice,1616.
Author:Wim Goossens
Text Domine quando veneris:
R. Domine quando veneris judicare terram,
ubi me abscondam a vultu irae tuae?
Quia peccavi nimis in vita mea.
V. Commissa mea pavesco, et ante te erubesco:
dum veneris judicare noli me condemnare.
R. Quia peccavi nimis in vita mea.
Translation:
R. O Lord, when Thou shall come to judge the earth,
where shall I hide from the face of Thy wrath?
For I have sinned greatly in my life.
V. I dread my judgement and I am ashamed before Thee.
When Thou shall come to judgement do not condemn me.
R. For I have sinned greatly in my life.
Contributor:Wim Goossens