Evangelista : Raffaele Pe, countertenor Christus : Luca Cervoni, tenor Pilatus : Marco Bussi, bass Simon Petrus / Servus i : Renato Dolcini, bass Ancilla / Servus ii : Valentina Argentieri, soprano

Cappella Neapolitana Alessandro Ciccolini, Marco Piantoni, Rossella Pugliano, Matteo Saccà, violins Rosario Di Meglio, viola Jorge Alberto Guerrero, Adriano Fazio, cellos Giorgio Sanvito, double bass Carlo Barile, organ Patrizia Varone, harpsichord Franco Pavan, Paola Ventrella, theorbos

Ghislieri Choir directed by Giulio Prandi Valentina Argentieri, Marta Redaelli, Sonia Tedla, sopranos Isabella Di Pietro, Marta Fumagalli, altos Michele Concato, Paolo Tormene, tenors Renato Cadel, Renato Dolcini, basses

Antonio Florio, conductor Gaetano Veneziano (1656-1716) Passio La Passione secondo Giovanni. Napoli c .1685

01 Passio Domini nostri Jesu Christi (Evangelista) 4:29 02 Iesus itaque sciens omnia (Evangelista, Christus, Chorus) 3:54 03 Mitte gladium tuum in vaginam (Christus, Evangelista, Ancilla, Simon Petrus) 2:52 04 Stabant autem servi et ministri (Evangelista, Christus, Servus i) 2:16 05 Si male locutus sum (Christus, Evangelista, Chorus, Simon Petrus, Servus ii ) 4:08 06 Quam accusationem affertis (Pilatus, Evangelista, Chorus, Christus) 9:09 07 Et dabant ei alapas (Evangelista, Pilatus, Chorus) 5:48 08 Non haberes potestatem (Christus, Evangelista, Chorus, Pilatus) 8:07 09 Ut Scriptura impleretur, dicens (Evangelista, Christus) 15:14

Revision and reconstruction by Antonio Florio

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In co-production with Ghislierimusica, Pavia – musica.ghislieri.it Recorded in Pavia (Collegio Ghislieri), , on 12-15 April 2015 Engineered and produced by Rino Trasi | Executive producer: Carlos Céster Editorial director: Carlos Céster | Editorial assistance: Mark Wiggins, María Díaz Translations: Avril Bardoni ( eng, essay), Mark Wiggins ( eng, sung texts), Pierre Élie Mamou ( fra ), Susanne Lowien ( deu ) Artwork & design: Rosa Tendero © 2016 note 1 music gmbh english english

nated as the category was by German composers and poser before the arrival of Scarlatti, and throughout becoming, in the final years of the seven- culminating in the works of J.S. Bach. Until now the his life held posts that carried the highest prestige, teenth century, one of the most famous and influen- absence was justified because so very few Italian even succeeding Scarlatti as maestro di cappella in the tial musicians in the city, commissioned to write for Passions of the Baroque era have been studied and royal chapel from 1704 to 1708. He was an artist of hundreds of chapels, churches and institutions and performed in modern times. primary importance during the transition between for the capital’s many religious festivals, witnessed by Gaetano Veneziano Passions written in Italy before Bach’s time are the seventeenth and eighteenth centuries, becoming the fact that the music archive of the Oratorio dei in fact more numerous than is generally thought and in his turn teacher to the up and coming generation Girolamini (Filippini) in Naples holds some 120 man- Passio are closely associated with devotional use in the thus ensuring that the rules governing the sixteenth uscripts. south of the country. An examination of new sources century were transmitted to many Four oratorios by Veneziano, some with texts by for Roberto Pagano leads one to think that when of the new century’s musicians. Andrea Perrucci, have recently been identified and arrived in Naples in 1683 and was immediately Entering the Conservatorio di S. Maria di confirm his skill as a composer. 1 Veneziano was, appointed maestro di cappella of the royal chapel by Loreto at the age of ten, Veneziano studied with therefore, one of the few home-grown composers lessandro Scarlatti’s first sacred masterpiece, the the Spanish viceroy, he was conforming to an already Provenzale who subsequently enlisted him as his who could vie with Alessandro Scarlatti after the lat- A Passio Domini Nostri Jesu Christi secundum Joannem established local tradition (a tradition shared with copyist of choice and junior assistant in his operatic ter was appointed maestro of the royal chapel in 1684. (known as Passione secondo Giovann i), was, according to Palermo as his uncle’s Passion demonstrates) when, work. (The only two manuscript copies of Proven- The relationship between the two maestri, facilitated the majority of contemporary scholars, written in around 1685, he wrote the Passione secondo Giovanni zale’s to survive, Lo schiavo di sua moglie and by their working with the same body of musicians, around 1680 when the young Sicilian-born composer in response to a commission. The discovery of anoth - Stellidaura, performed at the San Bartolomeo theatre was probably very close. In particular, Veneziano’s was in Rome working for the Oratorio del SS. er southern Italian Passion probably written at much in the first half of 1670, are both the work of Lezioni w ritten for solo voice and violins for perform- Crocifisso. Some archaisms discernible in the work the same time by Gaetano Veneziano, organist at the Veneziano). His marriage in 1677 to Antonia De Riso ance during Holy Week (of which the only copies are have recently been attributed to the possible influ - royal chapel when Scarlatti was its maestro di cappella , produced two generations of musicians. In 1678 he in the Archivio dei Girolamini in Naples) 2 are similar ence of a composition dating from a previous genera - now reinforces the hypothesis that a devotional was appointed associate (s oprannumerario) organist at in style to Alessandro Scarlatti’s astonishing L amenta- tion, namely the Passione secondo Giovanni by his repertory of a strongly dramatic nature was per - the royal Palazzo chapel, a step on the path that was zioni and provide a further point of comparison Sicilian uncle Vincenzo Amato. The work was per - formed in the Spanish viceroy’s chapel in Naples to lead to his appointment as organist of the Tesoro between the two Passioni, both of which were origi- formed in 2001 during the Scarlatti Festival of annually during Holy Week and diffused throughout di San Gennaro, maestro at the Conservatorio di nally written primarily for the virtuoso singers of the Palermo in a realisation by Umberto D’Arpa on the the south by the lay brotherhoods. Loreto (his alma mater) and finally, following a com- royal chapel. initiative of the late Roberto Pagano, the outstanding petitive examination, maestro of the royal chapel in There are only two manuscript sources of Scarlatti scholar. In the New Grove Dictionary of Music aetano Veneziano was born in Bisceglie, a small succession to Scarlatti in 1704, the year of Proven- Alessandro Scarlatti’s Passione, both of which are in and Musicians (2001) the entry “Passion” still insists on G town near Bari, in 1656 and died in Naples, zale’s death. Apart from a visit to his home territory Naples (Biblioteca del Conservatorio and Archivio the uniqueness of Scarlatti’s contribution to the genre where he had spent almost his entire working life, in in Puglia in 1687 to direct a performance of his dell’Oratorio dei Girolamini). The text of Passio in Italy, a nation in which the contributor considers 1716. He had been the favourite pupil of Francesco La Berenice for the wedding of the Count of Conver- Domini Nostri Jesu Christi secundum Joannem is taken settings of the Passion practically nonexistent, domi - Provenzale, the most prominent Neapolitan com - sano, Acquaviva d’Aragona, Veneziano remained in directly from the Latin version of the Gospel

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According to St John, with only three characters, il Sicilian composer’s work was written for ceremonial ars should have always considered Scarlatti’s to be a pheric sonorities that accompany the words of Christ Testo (Evangelist), Christ and Pilate besides the cho - use in the royal chapel in Naples shortly after his juvenile work is understandable because, although stupefy with their hypnotic density, while the part of rus (Turba, i.e. Crowd). The unique quality of this appointment to the post of maestro . skillful handling of counterpoint and great expressive Pilate and the longer one of the Evangelist allow juvenile composition has in the past led to its being The Neapolitan liturgical calendar, already qualities were characteristic of the Sicilian from his Veneziano to display his ability as concertatore , organ - ascribed to Scarlatti’s first period in Rome. Recent packed with festivals throughout the year, anticipated first days in Rome, he does not wholly utilise the ising his musical material into alternating passages of comparison with the rediscovered Sicilian Passione by a busy series of performances throughout Holy Week potentialities of the situation which are for the most arioso and recitative with frequent harmonic modu - Scarlatti’s uncle, Amato, has led some specialists to for the musicians of the royal chapel in those church - part apportioned to the recitatives together with lations. It is no surprise to find that the original revisit the hypothesis that we are dealing with one of es where the viceroy would attend with his court (the brief choral (crowd) interpolations. Moreover, the orchestral parts of the Passione preserved unbound in Scarlatti’s earliest works, written in Rome before he calendar can be read in the etiquetas of the Naples cyclic structure by which the impressively solemn the Archivio dei Girolamini indicate a lively and var - moved to Naples. court which survive for the years 163 2- 1685). Apart opening theme reappears at the end is clearly remi - ied ensemble consisting of two violins, two violoncel - However, back in 2004 Benedikt Poensgen in a from performances accompanying services in the niscent of the Roman oratorios that Scarlatti could los, lute (or harp), double bass and organ. These were doctoral thesis Die Offiziumskompositionen von palace chapel and various other churches, there were have heard during his first years in Rome. the instruments played by the royal chapel’s virtuoso Alessandro Scarlatti (University of Hamburg) clearly two especially popular processions through every Veneziano’s work places it in a very different musicians of the time. demonstrated that the two Neapolitan editions of street in Naples involving the “nazione spagnola”. artistic dimension from the very beginning. Taking Compared with Scarlatti, Veneziano could be Scarlatti’s Passio can be dated to around 1685, which One of these, “de la Soledad”, took place on the night the Neapolitan penitential tradition as its starting- described as an extrovert with a highly individual would place them during the composer’s early years of Good Friday with thousands of soldiers carrying point, it then veers towards a surprising modernity approach to composition seen in his judicious blend - in Naples. In subsequent articles Poensgen has con - lighted torches; another, on Easter Saturday, again with the skillful superimposition of two distinct ing of an old style with a startling modernity, adapting firmed the Neapolitan origins of the Passione secondo involved soldiers and ended with the firing of artillery strands, one contrapuntal and the other a harmonical - his work to the prodigious technical ability of the Giovanni and the Lamentazioni now in the Archivio and firearms. This is the kind of scenario we must ly dense and complex basso continuo . Most of the time viceregal singers for whom he was writing and endow - dell’Accademia Filarmonica of Bologna, both of imagine in order to reconstruct the atmosphere of Veneziano uses major keys, which is certainly unex - ing the more dramatic parts of the Gospel story of which can also be dated to the same period and which Naples in the Spanish era when the two Passioni came pected for such a solemn text (in fact Scarlatti begins Christ’s suffering and death with pulsating emotion. Poensgen correctly likened to Veneziano’s Lezioni . into being. in C minor): from the F major opening (also repeated It comes as no surprise to find Hanns-Berthold Dietz A systematic comparison of the structure of the cyclically at the end) he moves through D major (and ending his 1987 critique of Neapolitan music of the f Gaetano Veneziano’s Passio del Venerdì santo (or two works involved confirms the numerous points its relative key of B minor) G major, C major and F seventeenth century by observing, “In the church O Passione secondo Giovann i), using the same Gospel they have in common due to their having been writ - major, leaving only the final section – with the harrow - music of Veneziano... we find that very consolidation text of St John, a single copy survives in the Archivio ten for the same function within a short space of ing description of the death of Christ – to be dwelt on of older and newer compositional tendencies which dell’Oratorio dei Girolamini di Napoli, and that too time, but also reveals profound stylistic differences at length in the key of B minor. was to serve as the platform for the generation of can be dated to around 1685. Studies of this still between two composers representing two different Veneziano’s writing for his nine-part chorus is , Domenico Sarri, and Francesco Mancini unpublished Passio reveal an identical structure to that musical traditions. Although Scarlatti did not num - the more powerful and effective even though the at the start of the eighteenth century”. of Scarlatti which was written in the same place and at ber the nine sections as Veneziano did, each divided interventions are similarly brief, such brevity This opinion has now been amply justified by the same time. This confirms the hypothesis that the up the Latin text in exactly the same way. That schol - imposed, admittedly, by the Gospel text. The atmos - the first recording of Gaetano Veneziano’s Passione

8 9 english français secondo Giovann i, a rediscovery we owe to the verita - ques jusqu’à Bach. Cette lacune était jusqu’à présent ble prime mover of the re-evaluation in our own day justifiable étant donné le très petit nombre de of this outstanding musician of Baroque Naples, Passions italiennes de l’époque baroque étudiées et Antonio Florio with his matchless Cappella Neapoli- représentées de nos jours. tana (previously known as I Turchini), here in a fruit - Les Passions écrites en Italie avant l’ère de Bach, ful collaboration with the Ghislieri Choir, ensemble Gaetano Veneziano en réalité plus nombreuses qu’on ne le croit, sont in residence at the historic Collegio Ghislieri in étroitement associées aux coutumes dévotionnelles Pavia, directed by Giulio Prandi. An authentic mas - Passio de l’Italie du Sud. L’examen de ces nouvelles sources terpiece rediscovered. nous induit à penser que Alessandro Scarlatti, arrivé à pour Roberto Pagano Naples en 1683 et immédiatement institué maître de Dinko Fabris la chapelle royale par le vice-roi espagnol, s’adapta à une tradition locale établie (aussi à Palerme, comme a Passio Domini Nostri Jesu Christi secundum le prouve la Passion déjà citée de Vincenzo Amato) notes L Joannem est le premier chef-d’œuvre sacré de quand on lui demanda vers 1685 de composer la (1): A recording of the first, La Santissima Trinità , performed Alessandro Scarlatti : cette Passione secondo Giovann i Passione secondo Giovanni . La découverte d’une autre by Antonio Florio with I Turchini, was released by Glossa in date, selon les spécialistes, des années 1680, quand le Passion de l’Italie du Sud probablement composée à la 2014 on gcd 922607. jeune Palermitain, encore à Rome, était en rapport même époque par Gaetano Veneziano, organiste de (2): Glossa’s 2011 release, gcd 922602, Tenebrae, includes the avec l’Oratorio del Santissimo Crocifisso. Les archaïs - la chapelle royale quand Scarlatti la dirigeait, ren- recording of a performance of this by Antonio Florio and mes évidents ont été récemment attribués par des force l’hypothèse selon laquelle un répertoire dévo - I Turchini. érudits à l’influence de la Passione secondo Giovanni tionnel, d’un caractère très dramatique, était interpré - composée au cours de la génération précédente par té chaque année durant la Semaine sainte dans la cha - l’oncle de Scarlatti, Vincenzo Amato, Sicilien lui aussi. pelle du vice-roi espagnol à Naples, et propagé par les Cette œuvre, étudiée par Umberto D’Arpa, a été confraternités laïque s1 dans tout le Sud. jouée en 2001 au cours du Festival Scarlatti de Palerme sur l’initiative de Roberto Pagano, le plus grand érudit aetano Veneziano (né à Bisceglie, petite ville scarlattien, récemment décédé. L’entrée Passion du G près de Bari en 1656 et mort à Naples en 1716, où New Grove Dictionary of Music and Musicians (2001) il travailla pratiquement toute sa vie), était le disciple insiste encore sur l’unicité de Scarlatti dans le panora - préféré de Francesco Provenzale, le compositeur ma de l’Italie et considère cette nation comme prati - napolitain le plus important avant l’arrivée de quement absente de l’histoire de la Passion mise en Scarlatti. Veneziano occupa les plus hautes fonctions, musique, genre dominé par les compositeurs germani - au point de succéder à Scarlatti au poste de maître de

10 11 français français la chapelle royale de 1704 à 1708. Compositeur de religieuses de la capitale, activité que reflètent les romaines du jeune Scarlatti. La comparaison avec la l’œuvre pour les cérémonies de la chapelle royale de première importance au tournant du xvii e et du quelques 120 manuscrits conservés aux archives Passione sicilienne de Vicenzo Amato récemment Naples peu après avoir été nommé maître de cette xviii e siècles, il transmit les règles de l’école napoli - musicales de l’Oratorio dei Girola-mini (Filippini) de redécouverte a permis à certains spécialistes de met - institution. taine du xvii e aux générations suivantes et devint à Naples. tre en doute la première hypothèse et de considérer Le calendrier liturgique napolitain, déjà très char - son tour le maître de nombreux protagonistes de la Quatre oratorios de Veneziano récemment iden - la Passione secondo Giovann i comme l’une des premiè - gé de festivités à toute époque de l’année, prévoyait musique du siècle nouveau. tifiés, en partie sur des textes de Andrea Perrucci, res œuvres du Palermitain, composées à Rome avant pour les musiciens de la chapelle vice-royale une abon - Admis à l’âge de dix ans au Conservatoire de S. confirment son talent de compositeu r2. Veneziano de s’installer à Naples. dance de prestations durant la Semaine sainte dans les Maria de Loreto à Naples, Veneziano devint le disciple était donc l’un des rares maîtres entièrement formés Mais déjà en 2004, Benedikt Poensgen dans sa églises où le vice-roi devait se rendre avec la cour (le de Provenzale qui l’engagea ensuite comme copiste à Naples capables de rivaliser avec Alessandro Scar- thèse doctorale Die Offiziumskompositionen von calendrier se lit dans les etiquetas de la cour de Naples de confiance et maestrino de ses activités opéristiques latti après la nomination de ce dernier au poste de Alessandro Scarlatti (Université de Hambourg), avait ayant survécu et correspondant aux années 163 4- 1685). (Veneziano fut le copiste des deux manuscrits uniques maître de la chapelle royale en 1684. Les relations démontré clairement que les deux rédactions napoli - Outre les séances musicales accompagnant les rites des opéras de Provenzale ayant survécus, Lo schiavo di entre les deux compositeurs, facilitées par leur travail taines de la Passio de Scarlatti peuvent dater de 1685, dans la chapelle du palais et dans plusieurs églises, les sua moglie et Stellidaura représentés au théâtre de San avec les mêmes ensembles de musiciens, furent pro - c’est-à-dire des premières années du compositeur à Napolitains appréciaient tout particulièrement deux Bartolomeo durant la première moitié des années bablement très étroites. Signalons en particulier les Naples. Au cours d’interventions ultérieures, Poens- processions qui se déroulaient dans toutes les rues et 1670). Son mariage en 1677 avec Antonia De Riso Lezioni à voix seule et violons écrites par Veneziano gen a confirmé l’origine napolitaine commune de la impliquaient la « nazione spagnola » : celle de la nuit du produisit deux générations de musiciens. En 1678, il pour la Semaine saint e3 qui ont un style similaire à Passione secondo Giovanni et des Lamentazioni conservé - Vendredi saint dite « de la Solitude » avec des milliers fut nommé organiste surnuméraire de la chapelle du celui des stupéfiantes Lamentazioni de Alessandro es dans l’Archivio de l’Accademia Filarmonica de de soldats portant des torches allumées, et celle du palais royal, commençant ainsi une carrière qui le Scarlatti et peuvent constituer un élément ultérieur Bologne ; ces deux œuvres peuvent aussi avoir été Samedi saint qui convoquait aussi les troupes et se ter - mena au poste d’organiste du Trésor de San Gennaro, de comparaison entre les deux Passioni , qui furent composées durant la même période, que Poensgen minait par des salves d’artillerie et de fusils. Nous nous à celui de maître du Conservatoire de Loreto où il fut pratiquement écrites pour les chanteurs virtuoses de assimile correctement à celle des Lezioni de Veneziano. devons d’imaginer ce type de scénario pour recons - élève et devint finalement, après concours, maître de la chapelle royale. truire idéalement l’atmosphère qui caractérisait la la chapelle royale au poste de Scarlatti en 1704, l’an - Il n’existe que deux sources manuscrites de la a Passio del Venerdì santo ou Passione secondo Naples espagnole où sont nées le deux Passioni . née de la mort de Provenzale. En 1687, Veneziano Passione de Alessandro Scarlatti, conservées à Naples L Giovanni de Gaetano Veneziano, sur le même Une comparaison systématique des structures revint dans son pays natal pour diriger son opéra La (Biblioteca del Conservatorio et Archivio dell’Orato- texte de l’ Évangile selon Jean , survit dans une copie des deux œuvres confirme non seulement les nom - Berenice à l’occasion du mariage du comte de Conver- rio dei Girolamini) sous le titre de Passio Domini nostri unique conservée dans l’Archivio dell’Oratorio dei breux points en commun dus à leur création pour une sano, Acquaviva d’Aragona. Mis à part ce bref voyage, Jesu Christi secundum Johannem . Le texte ne s’éloigne Girolamini de Naples, qui peut être aussi datée de même fonction et à une même époque, mais encore Veneziano resta à Naples où il devint dans les der- pas de la version latine de l’ Évangile selon Jean , avec 1685 environ. L’étude de la Passion de Veneziano, jus - des différences stylistiques profondes entre les deux nières années du xvii e siècle l’un des maîtres les plus trois personnages seulement, le Texte (l’Évangéliste), qu’ici inédite, révèle une identité de lieu et de date compositeurs, représentants de deux mondes musi - renommés et influents. On lui demanda de composer le Christ et Pilate, en plus du Chœur (Turba, La ainsi qu’une structure absolument identique à la caux différents. Le texte évangélique latin est divisé pour des centaines de chapelles, d’églises et de con - foule). Étant donnée son unicité, cette composition Passion de Scarlatti ; ce qui confirme l’hypothèse exactement de la même manière dans les deux cas, grégations ainsi que pour les si nombreuses festivités avait auparavant été datée des premières années selon laquelle le compositeur palermitain avait écrit bien que Scarlatti ne numérote pas les 9 sections (au

12 13 français français contraire de Veneziano qui les indique expressément). œuvres coïncident dans la brièveté des interventions, serviront de plateforme à la génération suivante de Nous comprenons que les spécialistes aient toujours d’ailleurs imposée par le texte évangélique. Les Nicola Fago, Domenico Sarro et Francesco Mancini considéré la Passion de Scarlatti – malgré la maîtrise du atmosphères sonores qui définissent les interven - au début du xviii e siècle. » contrepoint et la grande expressivité caractéristiques tions hiératiques de Christ sont stupéfiantes d’inten - Cette opinion est à présent pleinement confir - de l’art du Palermitain dès le début de son séjour à sité hypnotique, tandis que le rôle de Pilate et celui, mée par la redécouverte de la Passione secondo Rome – comme une œuvre de jeunesse, qui n’exploite plus long, du Texte (l’Évangéliste) permettent à Giovanni de Gaetano Veneziano. Redécouverte due pas toutes les potentialités d’un discours lié, durant Veneziano d’arborer tout son talent d’architecte à au véritable moteur de la réévaluation actuelle de cet une grande partie de la narration, au récitatif ponctué l’heure de structurer les différentes situations alter - extraordinaire musicien de la Naples baroque, par les brèves insertions du Chœur (La foule). En nant ariosos et récitatifs dans une harmonie souvent Antonio Florio avec ses inégalables Turchini récem - outre, la structure cyclique permettant le retour, en modulante. Il n’est pas surprenant que les partitions ment renommés , ici en colla - fin d’œuvre, de la merveilleuse idée initiale du thème originales individuelles de la Passione conservées dans boration fructueuse avec le Ghislieri Choir, ensem - douloureux, rappelle clairement les modèles de l’ora - l’Archivio dei Gerolamini révèlent une instrumenta - ble en résidence au Collegio Ghislieri de Pavie, diri - torio romain que Scarlatti a pu entendre durant ses tion exubérante et variée : deux violons, deux violon - gé par Giulio Prandi. Un authentique chef-d’œuvre premières années à Rome. celle, luth (ou harpe) contrebasse et orgue. Tous ces retrouvé. L’œuvre de Veneziano se situe dès le début sur un instruments étaient joués par les virtuoses de la cha - plan artistique très différent : partant de la tradition pelle royale napolitaine de l’époque. Dinko Fabris pénitentielle napolitaine, elle tend vers une extraordi - Comparé à Scarlatti, Veneziano aborde la com - naire modernité en superposant habilement deux lan - position d’une façon toute personnelle, pouvant être gages, le contrepoint et l’harmonie produite par une définie comme extravertie, étant donnée sa capacité notes basse continue dense et complexe. La plupart de l’œu - à mêler avec science le style ancien et une modernité (1) ndt . Les confraternités laïques étaient formées par des vre de Veneziano se déroule sur des accords majeurs, saisissante, en adaptant son écriture à la technique catholiques ne faisant pas partie du clerc. Elles acceptaient ce qui est surprenant pour un texte si dramatique vocale prodigieuse des chanteurs de la chapelle pour aussi des religieux, les « frères laïques », non ordonnés diacre (Scarlatti commence en Do mineur) : commençant en qui l’œuvre fut conçue, et en faisant palpiter d’émo - ou prêtre. Étant femmes, les sœurs étaient, dans ce contexte, La majeur (ici aussi, repris cycliquement à la fin), elle tion les parties les plus dramatiques de la narration laïques. traverse les tonalités de Ré majeur (et son relatif évangélique de la souffrance finale de Jésus Christ. (2) Le premier oratorio, La Santissima Trinità , a été enregistré mineur, Si), Sol majeur, Do majeur et Fa majeur ; seule Ce n’est donc pas par hasard que Hanns-Berthold par les Turchini de Antonio Florio : Glossa 2014, gcd 922607. la dernière section – avec la douloureuse description Dietz, à la fin de son essai de 1987 sur la musique (3) Copie unique dans l’Archivio dei Girolamini de Naples ; de la mort du Christ – s’étend longuement sur l’accord sacrée napolitaine du xvii e siècle, observait : « Dans enregistrées par Antonio Florio & Turchini, cd Tenebrae de Si mineur. la musique de chambre de Gaetano Veneziano... nous Glossa 2011, gcd 922602. L’écriture du chœur, à 9 voix, est chez Veneziano trouvons cette consolidation authentique des ten - plus puissante et efficace, même quand les deux dances les plus anciennes et les plus modernes qui

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nazione che considera praticamente assente nella sto - Provenzale, il più importante compositore napoleta - Napoli, chiamato a comporre musiche per centinaia ria della Passione in musica, dominata dal mondo ger - no prima dell’avvento di Scarlatti. La sua carriera si di cappelle, chiese e congregazioni e per le tante festi - manico fino a Bach. Questa lacuna era finora giustifi - svolse ai più alti livelli, tanto da subentrare allo stesso vità religiose della capitale, come dimostrano le circa cabile perché sono pochissime le Passioni italiane del - Scarlatti come maestro della Real Cappella dal 1704 120 composizioni manoscritte che di lui conserva l’età barocca studiate e rieseguite modernamente. al 1708. Si tratta di un autore di primaria importanza l’Archivio musicale dell’Oratorio dei Girolamini Le Passioni scritte in Italia prima dell’età nel passaggio tra il Seicento e il Settecento, che assi - (Filippini) di Napoli. Gaetano Veneziano bachiana sono in realtà più numerose di quel che curò la trasmissione delle regole della scuola napole - Recentemente sono stati individuati quattro ora - comunemente si pensi e sono particolarmente asso - tana seicentesca alle successive generazioni, divenen - tori di Veneziano, in parte su testi di Andrea Perrucci, Passio ciate agli usi devozionali del sud Italia. Esaminando do a sua volta maestro di numerosi protagonisti della che confermano la sua perizia compositiv a 1. queste nuove fonti, siamo indotti a pensare che musica del nuovo secolo. Veneziano era dunque uno dei pochi maestri autocto - per Roberto Pagano Alessandro Scarlatti, giunto a Napoli nel 1683 e subi - Entrato all’età di dieci anni nel Conservatorio di ni in grado di competere con Alessandro Scarlatti to imposto dal viceré spagnolo come maestro della S. Maria di Loreto a Napoli, divenne allievo di dopo la nomina di questi a maestro della Real Real Cappella, si sia adeguato ad una consolidata tra - Provenzale che lo coinvolse in seguito come suo copi - Cappella, nel 1684. Le relazioni tra i due maestri, faci - a Passio Domini Nostri Jesu Christi secundum dizione locale, quando gli fu richiesto di musicare sta di fiducia e maestrino nelle sue attività operistiche litate dalla partecipazione allo stesso organico, furono L Joannem è il primo capolavoro sacro di Alessandro intorno al 1685 la sua Passione (tradizione condivisa da (Veneziano fu il copista degli unici due manoscritti di probabilmente molto strette. In particolare le Lezioni Scarlatti, assegnato comunemente dagli studiosi al Palermo come prova la Passione dello zio Amato). La opere di Provenzale superstiti, Lo schiavo di sua moglie a voce sola e violini per la Settimana Santa di periodo giovanile intorno al 1680, quando il palermi - scoperta di un’altra Passione meridionale composta e Stellidaura , rappresentate al teatro di San Venezian o2 si presentano con una scrittura paragona - tano si trovava ancora a Roma in rapporto con probabilmente nello stesso periodo da Gaetano Bartolomeo nella prima metà degli anni 1670). bile alle stupefacenti Lamentazioni di Alessandro l’Oratorio del SS. Crocifisso. Sono evidenti i caratteri Veneziano, organista della Real Cappella negli stessi Sposato nel 1677 con Antonia De Riso, ebbe figli e Scarlatti e possono costituire un ulteriore elemento di arcaici di questa composizione che, in anni recenti, anni in cui era maestro Scarlatti, alimenta l’ipotesi nipoti musicisti. Nel 1678 fu nominato organista confronto con le due rispettive Passioni , di cui condivi - erano stati giustificati dagli studiosi proponendo che che si tratti di un repertorio devozionale dal conte - soprannumerario della Real Cappella di Palazzo, dono in gran parte la destinazione originale per i can - il giovane Scarlatti fosse stato influenzato dal modello nuto fortemente drammatico, annualmente pratica - avviando un percorso che lo portò poi ad essere eletto tanti virtuosi della Real Cappella. della Passione secondo Giovanni composta nella genera - to durante la Settimana Santa nella Cappella del vice - organista del Tesoro di San Gennaro, maestro del suo Della Passione di Alessandro Scarlatti esistono zione precedente dallo zio siciliano Vincenzo Amato. ré spagnolo a Napoli, e diffuso dalle confraternite lai - antico Conservatorio di Loreto e infine, su concorso, due sole fonti manoscritte entrambe a Napoli Questa composizione, studiata da Umberto D’Arpa, è cali in tutto il sud. maestro della Real Cappella al posto di Scarlatti nel (Biblioteca del Conservatorio e Archivio dell’Ora- stata eseguita modernamente nel 2001 nel corso del 1704, l’anno della morte di Provenzale. Dopo un occa - torio dei Gerolamini) col titolo Passio Domini nostri Festival Scarlatti di Palermo per iniziativa di Roberto sionale ritorno nella sua terra, in Puglia, nel 1687 per Jesu Christi secundum Johannem . Il testo infatti non si Pagano, il maggiore studioso scarlattiano recente - aetano Veneziano (nato a Bisceglie, cittadina curare l’esecuzione di un suo melodramma per le allontana dalla versione latina del Vangelo di mente scomparso. La voce « Passion » del New Grove G vicino Bari nel 1656 e morto a Napoli nel 1716, nozze del conte di Conversano Acquaviva d’Aragona, Giovanni, con soli tre personaggi, il Testo, Cristo e Dictionary of Music and Musicians (2001) insiste ancora dopo avervi svolto quasi interamente la carriera arti - La Berenice , Veneziano divenne negli ultimi anni del Pilato, oltre al coro (Turba). L’unicità di questa com - sulla unicità del caso Scarlatti nel panorama dell’Italia, stica), era stato l’allievo prediletto di Francesco Seicento uno dei più rinomati e influenti maestri di posizione giovanile di Scarlatti aveva condizionato

16 17 italiano italiano in passato la datazione nei primi anni romani del Il calendario liturgico napoletano, già di per sé caratterizzano l’arte del Palermitano fin dal suo esor - Testo (Evangelista) consentono a Veneziano di sfog - compositore. Il recente confronto con la ritrovata ricolmo di occasioni festive in ogni periodo dell’an - dio romano, non estrinseca tutte le potenzialità del giare tutta la sua perizia di concertatore, con alter - Passione siciliana di Amato ha riaperto per alcuni no, prevedeva infatti per l’organico della cappella discorso legato per gran parte della narrazione al reci - nanza di situazioni ariose e recitativi spesso armoni - specialisti l’ipotesi che si tratti di una delle prime vicereale una fitta serie di esecuzioni durante la tativo con i brevi inserimenti del Coro (Turba). camente modulanti. Non a caso le parti staccate ori - composizioni del palermitano, composta a Roma Settimana Santa nelle chiese dove doveva recarsi il Inoltre la struttura ciclica per cui la conclusione ginali della Passione conservate nell’Archivio dei prima di trasferirsi a Napoli. viceré con la corte (il calendario si legge nelle etiquetas riprende la meravigliosa idea iniziale del tema doloro - Gerolamini si riferiscono ad un organico esuberante Invece già nel 2004 Benedikt Poensgen nella sua della corte di Napoli che sopravvivono per gli anni so, riconduce con facilità ai modelli dell’oratorio e vario: due violini, due violoncelli, liuto (o arpa) con - tesi dottorale Die Offiziumskompositionen von Alessan- 1634-1685). Oltre alle esecuzioni che accompagnava - romano che Scarlatti poté ascoltare nei suoi primi trabasso e organo. Tutti strumenti affidati ai virtuosi dro Scarlatti (Università di Amburgo), aveva chiara - no i riti nella Cappella di palazzo e nelle varie chiese, anni a Roma. della Cappella Reale napoletana del tempo. mente dimostrato che le due redazioni napoletane erano particolarmente sentite due processioni che Fin dall’inizio la composizione di Veneziano si Dal confronto con Scarlatti, emerge un atteggia - della Passio di Scarlatti fossero datate intorno al 1685, coinvolgevano la «nazione spagnola» per tutte le vie di situa su una dimensione artistica ben diversa, che mento compositivo molto personale di Veneziano, ossia durante i primi anni a Napoli del compositore. Napoli: quella della notte del venerdi santo detta «de prende le mosse dalla tradizione penitenziale napole - che possiamo definire estroverso, per la sua capacità In successivi interventi lo stesso Poesgen ha confer - la Soledad», con migliaia di soldati con torce illumina - tana ma svetta verso una straordinaria modernità nel - di miscelare sapientemente stile antico e dirompente mato la comune origine napoletana della Passione secon - te, e quella del sabato santo che coinvolgeva le truppe l’abile sovrapposizione dei due livelli, quello contrap - modernità, adeguando la scrittura alla prodigiosa tec - do Giovanni e delle Lamentazioni conservate presso e terminava con spari di artiglieria e fucili. Dobbiamo puntistico e quello armonico di un basso continuo nica vocale dei cantori vicereali cui è destinato il l’Archivio dell’Accademia Filarmonica di Bologna, immaginare questo tipo di scenario per ricostruire denso e complesso. Per la maggior parte del tempo la brano, e a rendere palpitanti emozioni le parti più anch’esse databili intorno allo stesso periodo e che idealmente l’atmosfera che caratterizzava la Napoli composizione di Veneziano si muove su accordi mag - drammatiche della narrazione evangelica della soffe - Poensgen paragonava correttamente alle Lezioni di spagnola in cui videro la luce le due Passioni . giori, elemento certo sorprendente per un testo così renza finale di Gesù Cristo. Non a caso Hanns- Veneziano. Da un sistematico confronto strutturale tra le drammatico (ed infatti Scarlatti parte con il Do mino - Berthold Dietz, nel concludere un suo saggio del 1987 due composizioni, si confermano i numerosi punti in re): dal La maggiore iniziale (anche qui ripreso ciclica - sulla musica sacra napoletana nel Seicento, aveva a Passio del Venerdì santo di Gaetano Veneziano, comune che dimostrano la loro creazione per una mente a conclusione) muovendosi attraverso Re mag - osservato: «Nella musica da chiesa di Gaetano L sullo stesso testo evangelico di Giovanni, soprav - stessa funzione a poco tempo di distanza, ma anche giore (e relativa minore Si), Sol maggiore, Do maggio - Veneziano... troviamo quell’autentico consolidamen - vive in copia unica nell’Archivio dell’Oratorio dei differenze stilistiche profonde tra i due autori, rap - re e Fa maggiore, lasciando soltanto l’ultimo tempo – to delle tendenze insieme più antiche e più moderne Girolamini di Napoli ed è anch’essa databile intorno al presentanti di due mondi musicali diversi. Il testo con la dolorosa descrizione della morte di Cristo – che serviranno da piattaforma per la generazione suc - 1685. Lo studio della Passione di Veneziano, finora ine - evangelico latino è suddiviso esattamente nella stessa attestato lungamente sull’accordo minore di Si. cessiva di Nicola Fago, Domenico Sarro e Francesco dita e composta su una struttura assolutamente iden - maniera dai due compositori, anche se Scarlatti non La scrittura del Coro, a 9 voci, è in Veneziano Mancini nel primo Settecento». tica a quella di Scarlatti nello stesso ambiente e negli numera le 9 sezioni (che in Veneziano sono espressa - più potente ed efficace pur nella simile brevità degli Questo giudizio è ora pienamente provato dalla stessi anni, pone il suggello all’ipotesi che il composi - mente indicate). Si comprende perché gli studiosi interventi, imposta del resto dal testo evangelico. Le riscoperta della Passione secondo Giovanni di Gaetano tore palermitano abbia scritto la sua composizione abbiano sempre considerato come giovanile la com - atmosfere sonore che definiscono gli interventi iera - Veneziano, riscoperta che dobbiamo a colui che è il per le esigenze cerimoniali della Real Cappella di posizione scarlattiana che, pur mostrando già forte la tici di Cristo sono stupefacenti nella loro ipnotica vero artefice della rivalutazione ai nostri giorni di Napoli poco dopo la sua elezione a maestro. perizia contrappuntistica e la forza espressiva che densità, mentre Pilato e soprattutto la lunga parte del questo straordinario musicista della Napoli barocca,

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Antonio Florio col suo storico complesso Cappella schen Umfeld heraus. Der Verfasser geht davon aus, della Pietà dei Turchini (che dal 2016 in avanti utiliz - dass die italienische Nation in der Geschichte der zerà la nuova denominazione di Cappella Neapoli- Passionsvertonungen praktisch keine Rolle spielt, da tana), questa volta in fruttuosa collaborazione con il diese vom deutschsprachigen Raum mit Bach als Ghislieri Choir, ensemble in residenza dello storico Gaetano Veneziano Höhepunkt dominiert wurde. Diese Fehlannahme ist Collegio Ghislieri di Pavia, diretto da Giulio Prandi. verständlich, da bisher nur sehr wenige italienische Un autentico capolavoro ritrovato. Passio Passionen aus dem Barock in unserer heutigen Zeit untersucht und wieder aufgeführt wurden. Dinko Fabris für Roberto Pagano Die Anzahl der vor der Ära Bach in Italien kom - ponierten Passionen ist höher als gemeinhin ange - nommen; diese Werke stehen in engem Zusammen- note ie Passio Domini Nostri Jesu Christi secundum hang mit dem Einsatz im liturgischen Kontext in (1) Il primo oratorio, La Santissima Trinità , è già stato inciso dai D Joannem (oder Passione secondo Giovann i) ist das Süditalien. Nach der Untersuchung neuer Quellen Turchini di Antonio Florio per Glossa nel 2014, gcd 922607. erste Meisterwerk Alessandro Scarlattis und wird von neigt man zu der Annahme, dass Alessandro Scarlatti (2) Copie uniche nell’Archivio dei Girolamini di Napoli; si Musikwissenschaftlern gewöhnlich auf seine Jugend- (der 1683 nach Neapel kam und vom spanischen veda l’incisione nel cd Tenebrae con i Turchini di Antonio zeit um 1680 datiert, als der aus Palermo stammende Vizekönig umgehend als maestro der Real Cappella Florio per Glossa, 2011, gcd 922602. Musiker noch in Rom im Dienst des Oratorio del SS. angestellt wurde) sich sofort in eine bestehende loka - Crocifisso stand. Diese Komposition trägt einige le Tradition einreihte, als er um 1685 den Auftrag archaische Züge, die in der Vergangenheit von der erhielt, seine Passione secondo Giovann i zu schreiben. Forschung auf die Annahme zurückgeführt wurden, Diese Tradition hatte Neapel mit Palermo gemein - der junge Scarlatti sei vom Vorbild der Passione secondo sam, wie die Passion seines Onkel Amato zeigt. Aus Giovanni beeinflusst worden, die sein sizilianischer der gleichen Epoche gibt es eine weitere süditalieni - Onkel Vincenzo Amato eine Generation zuvor kom - sche Passionsvertonung von Gaetano Veneziano, der poniert hatte. Dieses Werk wurde 2001 in einer zu Scarlattis Zeit an der Real Cappella als Organist Fassung von Umberto D’Arpa im Rahmen des wirkte. Durch die Entdeckung dieses Werkes wird Scarlatti-Festivals in Palermo aufgeführt; die Initia- die Hypothese bestärkt, dass es sich bei diesem tive dazu ging von dem kürzlich verstorbenen bedeu - Andachtsrepertoire um Werke mit ausgeprägt dra - tenden Scarlatti-Forscher Roberto Pagano aus. Der matischem Charakter handelte; sie wurden jedes Jahr Artikel über Passionen (»Passion«) im New Grove während der Karwoche in der Kapelle des spani - Dictionary of Music and Musicians (2001) stellt noch schen Vizekönigs in Neapel aufgeführt und durch die Einzigartigkeit der Passion Scarlattis im italieni - Laienbruderschaften in ganz Süditalien verbreitet.

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aetano Veneziano kam 1656 in der Kleinstadt und schließlich in Provenzales Todesjahr 1704 maes - re Vergleichsmöglichkeit zu den beiden Passionen, ihren Ursprung jeweils in Neapel haben. Beide lassen G Bisceglie in der Nähe von Bari zur Welt und tro an der Real Cappella in der Nachfolge Scarlattis die jeweils in erster Linie für die virtuosen Sänger der sich auf den gleichen Zeitraum datieren und werden starb 1716 in Neapel, wo sich praktisch seine gesamte werden sollte. Veneziano kehrte im Jahr 1687 kurz in Real Cappella bestimmt waren. von Poesgen zu Recht mit den Lezioni von Veneziano künstlerische Laufbahn abspielte. Er war der Lieb- seine Herkunftsregion Apulien zurück, wo er eine Es gibt zwei handschriftliche Quellen für verglichen. lingsschüler von Francesco Provenzale, dem wich - Aufführung seines Melodramas La Berenice aus Alessandro Scarlattis Passion, die sich beide in tigsten neapolitanischen Komponisten vor Scarlatti. Anlass der Hochzeit des Grafen von Conversano, Neapel befinden (in der Biblioteca del Conservatorio aetano Venezianos Passio del Venerdì santo Provenzale erlangte die bedeutendsten Posten und Acquaviva d’Aragona, leitete. In den letzten Jahren und im Archivio dell’Oratorio dei Girolamini). Der G (Karfreitagspassion), oder auch Passione secondo wirkte von 1704 bis 1708 sogar als Nachfolger des 17. Jahrhunderts entwickelte er sich zu einem der Titel des Werkes lautet Passio Domini nostri Jesu Giovann i, über den gleichen Text aus dem Johannes- Scarlattis als maestro der Real Cappella. Er war ein berühmtesten und einflussreichsten neapolitani - Christi secundum Johannem . Der Text unterscheidet evangelium ist in einer einzigen Abschrift im Komponist ersten Ranges an der Wende vom 17. zum schen Komponisten, der mit der Komposition von sich nicht vom lateinischen Wortlaut des Johannes- Archivio dell’Oratorio dei Girolamini in Neapel 18. Jahrhundert, der dafür sorgte, dass die Regeln der Werken für Hunderte von musikalischen Ensembles evangeliums; es kommen nur drei Personen vor überliefert und ist ebenfalls auf ca. 1685 zu datieren. neapolitanischen Schule an die folgenden Genera- an Kirchen und Klöstern anlässlich der zahlreichen (Testo/Evangelist, Christus und Pilatus), außerdem Der Aufbau dieser bisher nicht edierten Passion ist tionen weitergegeben wurden, indem er zahlreiche religiösen Feste der Hauptstadt beauftragt wurde. wird ein Chor eingesetzt (Turba). Aufgrund ihrer vollkommen identisch wie in Scarlattis Werk; sie ent - Protagonisten des Musiklebens des neuen Jahrhun- Ein Beleg dafür sind seine über 120 handschriftli - Einzigartigkeit wurde diese Komposition des jungen stand zur gleichen Zeit im gleichen Umfeld. Die derts unterrichtete. chen Kompositionen, die im Musikarchiv des Scarlatti in der Vergangenheit auf seine ersten Jahre Untersuchung dieses Werkes bestätigt die Hypo- Im Alter von zehn Jahren trat Veneziano in das Oratorio dei Girolamini (Oratorianer) in Neapel in Rom datiert. Durch den Vergleich mit Amatos vor these, dass Scarlatti seine Komposition kurz nach Conservatorio di S. Maria di Loreto ein und wurde überliefert sind. kurzem wiederentdeckter sizilianischer Passion seiner Ernennung zum maestro für die zeremoniellen Schüler Provenzales, der ihn bald als bevorzugten Vor kurzem wurden vier Oratorien von haben einige Spezialisten die Hypothese geäußert, es Erfordernisse der Real Cappella in Neapel geschrie - Kopisten und als Assistenten bei Opernaufführun- Veneziano identifiziert (z. T. mit Texten von Andrea könne sich um eine der frühesten Kompositionen ben hat. gen einsetzte. (Veneziano schrieb auch die Parti- Perrucci), die Zeugnis von seinem Können als Kom- Scarlattis handeln, entstanden in Rom vor seinem Der neapolitanische Kalender barst zu jeder turen der beiden einzigen erhaltenen Opern Proven- ponist ablege n1. Veneziano war also einer der weni - Wechsel nach Neapel. Jahreszeit vor feierlichen liturgischen Anlässen; in zales ab, Lo schiavo di sua moglie und Stellidaura , die in gen einheimischen Komponisten, die sich mit Benedikt Poesgen hat dagegen bereits 2004 in der Karwoche hatte die Kapelle des Vizekönigs in der ersten Hälfte des Jahres 1670 im Teatro San Alessandro Scarlatti nach dessen Ernennung zum seiner Doktorarbeit Die Offiziumskompositionen von einer dicht gedrängten Folge von Aufführungen in Bartolomeo aufgeführt wurden.) 1677 heiratete maestro der Real Cappella (1684) messen konnten. Alessandro Scarlatti (Universität Hamburg) zweifels - jenen Kirchen aufzutreten, die der Vizekönig mit Veneziano Antonia de Riso, und viele seiner Söhne Bedingt durch die Tätigkeit im selben Ensemble war frei nachgewiesen, dass die beiden neapolitanischen seinem Hof besuchte. (Diesen Kalender kann man und Enkel wurden ebenfalls Musiker. 1678 wurde er die Beziehung zwischen diesen beiden Komponisten Ausgaben der Passio Scarlattis auf ca. 1685 zu datieren den etiquetas des Hofes nachlesen, die für die Jahre zum zusätzlichen Organisten ( organista soprannume - wahrscheinlich recht eng. Insbesondere Venezianos sind, also in die ersten Jahre des Komponisten in 1634 bis 1685 erhalten sind.) Neben den Aufführun- rario ) an der Real Cappella des Palastes ernannt, ein Lezioni für Solostimme und Violinen für die Kar- Neapel. In weiteren Aufsätzen hat Poesgen zusätzli - gen bei Gottesdiensten in der Kapelle des Palastes erster Schritt seiner Karriere, in deren Verlauf er woch e2 weisen eine Kompositionsweise auf, die mit che Belege dafür angeführt, dass die Passione secondo und in verschiedenen Kirchen gab es insbesondere Organist am Tesoro di San Gennaro, Lehrer an sei - den erstaunlichen Lamentazioni von Alessandro Giovanni sowie die im Archivio dell’Accademia noch zwei Prozessionen durch alle Straßen Neapels, ner ehemaligen Schule (Conservatorio di Loreto) Scarlatti vergleichbar ist. Das Werk bietet eine weite - Filarmonica in Bologna überlieferten Lamentazioni bei denen die gesamte »spanische Nation« beteiligt

22 23 deutsch deutsch war. Am Karfreitag fand die Prozession »de la Vorbild römischer Oratorien zurückführen, wie Fähigkeiten zur Schau zu stellen. Es ist kein Zufall, Veneziano ganz und gar bestätigt. Dies verdanken Soledad«, mit Tausenden fackeltragender Soldaten Scarlatti sie in seinen frühen römischen Jahren hören dass die originalen Einzelstimmen dieser Passion aus wir dem wahren Urheber der Neubewertung jenes statt; bei der Prozession am Karsamstag waren konnte. dem Archivio dei Girolamini auf eine üppige und außergewöhnlichen Barockkomponisten aus Neapel: ebenfalls Truppen beteiligt, ihren Abschluss bildeten Venezianos Komposition dagegen ist künstle - vielfältige Besetzung schließen lassen: zwei Violinen, Antonio Florio und seinem einmaligen Ensemble, Böllerschüsse und Gewehrsalven. Diese Szenerie risch in einer vollkommen anderen Dimension einzu - zwei Violoncelli, Laute (oder Harfe), Kontrabass und das 2016 von I Turchini in Cappella Neapolitana um- muss man sich vorstellen, wenn man die Atmosphäre ordnen. Sie basiert auf den neapolitanischen Buß- Orgel. All diese Instrumente wurden von den Virtuo- benannt wurde. Auf dieser cd ist es in fruchtbarer heraufbeschwören will, die für das spanisch be- traditionen, strebt aber nach einer außerordentli - sen der Cappella Reale zu dieser Zeit gespielt. Zusammenarbeit mit dem Ghislieri Choir aus Pavia herrschte Neapel zur Entstehungszeit der beiden chen Modernität, indem die beiden Ebenen des Aus dem Vergleich mit Scarlatti folgt, dass unter der Leitung von Giulio Prandi zu hören. Diese Passionen typisch war. Kontrapunktes und der Harmonik des dichten und Veneziano als Komponist eine sehr eigenständige wiederentdeckte Passion ist in der Tat ein Meister- Aus einem systematischen formalen Vergleich komplexen Basso continuo einander auf gekonnte Herangehensweise verfolgte. Man kann ihn aufgrund werk! der beiden Werke gehen zahllose Gemeinsamkeiten Weise gegenübergestellt werden. Venezianos Werk seiner Fähigkeit, den alten Stil klug mit einer gerade - hervor, die dafür sprechen, dass beide mit kurzem bewegt sich überwiegend in Dur-Klängen, was bei zu verstörenden Modernität zu mischen, als extro - Dinko Fabris zeitlichem Abstand für den gleichen Verwendungs- einem so dramatischen Text sicher überraschend ist vertiert auffassen. Dabei richtete er seine Kompo- zweck entstanden sind. Es gibt aber auch entschiede - (Scarlattis Werk beginnt dagegen in c-Moll): vom sitionsweise an der außerordentlichen Gesangstech- ne stilistische Unterschiede zwischen den beiden anfänglichen A-Dur (das auch bei diesem Werk am nik der Sänger des Vizekönigs aus, für die das Werk anmerkungen Komponisten, die zwei verschiedene musikalische Ende wieder aufgenommen wird) über D-Dur (und bestimmt war. Die dramatischeren Abschnitte des (1) Das erste dieser Oratorien, La Santissima Trinità , wurde Welten repräsentieren. Der lateinische Evangeliums- die Paralleltonart h-Moll), G-Dur, C-Dur und F-Dur. Evangeliums, die sich mit den letzten Leiden Jesu 2014 von den Turchini und Antonio Florio für Glossa text wird auf identische Weise in neun Abschnitte Einzig der letzte Abschnitt mit der qualvollen Christi beschäftigen, versah er mit erschütternder aufgenommen, gcd 922607. gegliedert, wobei Scarlatti im Gegensatz zu Vene- Beschreibung des Todes Christi steht in einem ausge - Emotionalität. (2) Die einzige Abschrift befindet sich im Archivio dei ziano die Abschnitte nicht nummeriert. Es ist nach - dehnten h-Moll-Abschnitt. Es ist nicht überraschend, das Hanns-Berthold Girolamini in Neapel; sie wurde 2011 mit den Turchini und vollziehbar, warum Scarlattis Werk für die Musikwis- Trotz der vergleichbaren Kürze der Einwürfe, Dietz am Ende seines Aufsatzes über die geistliche Antonio Florio für Glossa unter dem Titel Tenebrae senschaft immer als Jugendwerk galt. Obwohl der die wohl in der Knappheit der Evangelientexte Musik im Neapel des 17. Jahrhunderts aus dem Jahr eingespielt, gcd 922602. Komponist großes kontrapunktisches Können an den begründet ist, ist Venezianos Schreibweise für den 1987 zu folgendem Schluss kommt: »In der Tag legt und so expressiv schreibt, wie es für seine neunstimmigen Chor beeindruckender und effekt - Kirchenmusik Gaetano Venezianos finden wir jene Kunst seit der frühesten Zeit in Rom typisch ist, voller. Die atmosphärischen Klänge der feierlichen authentische Konsolidierung sowohl der ältesten als schöpft er nicht alle Möglichkeiten des Diskurses aus, Christusworte sind in ihrer hypnotischen Dichte auch der modernsten Tendenzen, die für die darauf - der über weite Strecken aus Rezitativen mit kurzen beeindruckend, während die Rolle des Pilatus und folgende Generation mit Nicola Fago, Domenico Einschüben des Turba-Chors besteht. Das Werk ist vor allem die umfangreiche Partie des Testo Sarro und Francesco Mancini zu Beginn des 18. Jahr- zyklisch aufgebaut; am Ende wird das ergreifende (Evangelist) Veneziano die Gelegenheit bieten, mit hunderts als Sprungbrett dienten.« leidvolle Anfangsthema noch einmal aufgenommen. dem ständigen Wechsel von Ariosi und häufig modu - Dieses Urteil wird nun durch die Wiederentde- Darüber hinaus lässt sich der Aufbau leicht auf das lierenden Rezitativen all seine kompositorischen ckung der Passione secondo Giovanni von Gaetano

24 25 26 27 01 01 Christus Jesus Evangelista Evangelist Ego sum. I am he. Passio Domini nostri Jesu Christi secundum The Passion of our Lord Jesus Christ according to Ioannem. St John. Evangelista Evangelist In illo tempore egressus est Jesus cum discipulis suis At that time, Jesus left with his disciples and crossed Stabat autem et Judas, qui tradebat eum, cum ipsis. Now Judas the traitor, was standing with them. trans torrentem Cedron, ubi erat hortus, in quem the Kidron valley where there was a garden, and into Ut ergo dixit eis: Ego sum, abierunt retrorsum et When he said to them: I am he, they moved back introivit ipse, et discipuli eius. which he entered with his disciples. ceciderunt in terram. and fell on the ground. Sciebat autem et Judas, qui tradebat eum, locum, quia Now Judas, who betrayed him, also knew the place, Iterum ergo interrogavit eos: He asked them therefore a second time: frequenter Jesus convenerat illuc cum discipulis suis. since Jesus had often met there with his disciples. Judas ergo cum accepisset cohortem et a Judas, therefore, having gathered a cohort of Christus Jesus pontificibus et pharisaeis ministros, venit illuc cum soldiers, together with officers sent by the chief Quem quaeritis? Who are you looking for? laternis et facibus et armis. priests and Pharisees, went there with lanterns and torches and weapons. Evangelista Evangelist Illi autem dixerunt: And they said: 02 02 Evangelista Evangelist Chorus Choir Jesus itaque sciens omnia quae ventura erant super Jesus knowing everything which was to befall him, Jesum Nazarenum. Jesus the Nazarene. eum, processit et dixit eis: came forward and said to them: Evangelista Evangelist Christus Jesus Respondit Jesus: Jesus answered: Quem quaeritis? Who are you looking for? Christus Jesus Evangelista Evangelist Dixi vobis, quia ego sum. Si ergo me quaeritis, sinite I have told you that I am he. If I am the one you are Responderunt ei: They answered him: hos abire. looking for, let these ones go their way.

Chorus Choir Evangelista Evangelist Jesum Nazarenum. Jesus the Nazarene. Ut impleretur sermo, quem dixit: «Quia, quos This was to fulfil the words that he had spoken: dedisti mihi, non perdidi ex eis quemquam.» “Not one of those who you gave me have I lost.” Evangelista Evangelist Simon ergo Petrus habens gladium eduxit eum et Simon Peter, who had a sword, drew it out and Dicit eis Jesus: Jesus said to them: percussit pontificis servum et abscidit auriculam struck the high priest’s servant, cutting off his right eius dexteram. Erat autem nomen servo Malchus. ear. The servant’s name was Malchus.

28 29 Dixit ergo Jesus Petro: Jesus said to Peter: 04 04 Evangelista Evangelist 03 03 Stabant autem servi et ministri ad prunas, quia Now the servants and officers were standing at a Christus Jesus frigus erat, et calefaciebant se; erat autem cum eis et charcoal fire, for it was cold, and were warming Mitte gladium tuum in vaginam. Calicem, quem Put your sword back into its scabbard. Am I not to Petrus stans et calefaciens se. themselves there; Peter stood there too to warm dedit mihi Pater, non bibam illum? drink the cup which my Father has given me? Pontifex ergo interrogavit Jesum de discipulis suis et himself. de doctrina eius. The high priest questioned Jesus about his disciples Evangelista Evangelist Respondit ei Jesus: and his teaching. Cohors ergo et tribunus et ministri Judaeorum So the cohort and its tribune and the officers of the Jesus answered him: comprehenderunt Jesum et ligaverunt eum. Jews seized Jesus and bound him. Et adduxerunt eum ad Annam primum; erat enim And they took him first to Annas; for he was the father- Christus Jesus socer Caiphae qui erat pontifex anni illius. in-law of Caiaphas who was high priest that year. Ego palam locutus sum mundo; ego semper docui in I have spoken openly to all the world; I have always Erat autem Caiphas, qui consilium dederat Judaeis, It was Caiaphas who had counselled the Jews that it synagoga et in templo, quo omnes Judaei taught in the synagogue and in the Temple, where all quia expedit unum hominem mori pro populo. was better for one man to die for the people. conveniunt, et in occulto locutus sum nihil. the Jews meet together, and I have in secret said Sequebatur autem Jesum Simon Petrus et alius Simon Peter followed Jesus, and so did another Quid me interrogas? Interroga eos qui audierunt nothing. discipulus. Discipulus autem ille erat notus pontifici disciple. This disciple, who was known to the high quid locutus sim ipsis; ecce hi sciunt quae dixerim Why ask me? Ask those who heard me what I have et introivit cum Jesu in atrium pontificis. priest, went with Jesus into the high priest’s palace. ego. said to them; they know what I have said. Petrus autem stabat ad ostium foris. Exivit ergo But Peter was standing outside the door. The other discipulus alius, qui erat notus pontifici, et dixit disciple, who was known to the high priest, spoke to Evangelista Evangelist ostiariae et introduxit Petrum. the door-keeper and brought Peter in. Haec autem cum dixisset, unus assistens At these words one of the servants standing by Dicit ergo Petro ancilla ostiaria: The maid keeping the door said to Peter: ministrorum dedit alapam Jesu dicens: struck Jesus with his hand, saying:

Ancilla Maid Servus Servant Numquid et tu ex discipulis es hominis istius? Are you not one of this man’s disciples? Sic respondes pontifici? Is this how you respond to the high priest?

Evangelista Evangelist Evangelista Evangelist Dicit ille: He said: Respondit ei Jesus: Jesus answered him:

Simon Petrus Simon Peter Non sum. I am not.

30 31 05 05 ut non contaminarentur, sed ut manducarent did not enter to the judgement hall, so as not to Christus Jesus Pascha. defile themselves and be unable to eat the Passover. Si male locutus sum, testimonium perhibe de malo; If I have spoken wrongly, point out my offence; if Exivit ergo Pilatus ad eos foras et dixit: Therefore Pilate came out to them and said: si autem bene, quid me caedis? not, why strike me? 06 06 Evangelista Evangelist Pilatus Pilate Et misit eum Annas ligatum ad Caipham And Annas sent him, bound, to Caiaphas the high Quam accusationem affertis adversus hominem hunc? What charge do you bring against this man? pontificem. priest. Erat autem Simon Petrus stans et calefaciens se. Simon Peter was standing there warming himself. Evangelista Evangelist Dixerunt ergo ei: They said to him: Responderunt et dixerunt ei: They answered him and said:

Chorus Choir Chorus Choir Numquid et tu ex discipulis eius es? Are you not one of this man’s disciples? Si non esset hic malefactor, non tibi tradidissemus If he were not a criminal, we would not have eum. brought him here to you. Evangelista Evangelist Negavit ille et dixit: He denied it, saying: Evangelista Evangelist Dixit ergo eis Pilatus: Then said Pilate to them: Simon Petrus Simon Peter Non sum. I am not. Pilatus Pilate Accipite eum vos et secundum legem vestram Take him yourselves, and judge him by your own law. Evangelista Evangelist iudicate eum. Dicit ei unus ex servis pontificis, cognatus eius cuius One of the high priest’s servants, a relation of he abscidit Petrus auriculam: whose ear Peter had cut off said to him: Evangelista Evangelist Dixerunt ergo ei Judaei: The Jews then said to him: Unus ex Servis Pontificis Servant of the High Priest Nonne ego te vidi in horto cum illo? Did not I see you in the garden with him? Chorus Choir Nobis non licet interficere quemquam. It is not lawful for us to put anyone to death. Evangelista Evangelist Iterum ergo negavit Petrus, et statim gallus cantavit. Again Peter denied it; and at once a cock crowed. Evangelista Evangelist Adducunt ergo Jesum a Caipha in praetorium. Erat They then led Jesus from the house of Caiaphas to Ut sermo Jesu impleretur, quem dixit, significans This was to fulfil the words spoken by Jesus, autem mane. Et ipsi non introierunt in praetorium, the judgement hall. It was now morning. And they qua morte esset moriturus. indicating by which way he would die.

32 33 Introivit ergo iterum in praetorium Pilatus et Then Pilate went back into the judgement hall and Pilatus Pilate vocavit Jesum et dixit ei: called Jesus to him, and said to him: Ergo rex es tu? Therefore, you are a king?

Pilatus Pilate Evangelista Evangelist Tu es rex Judaeorum? Are you the king of the Jews? Respondit Jesus: Jesus answered him:

Evangelista Evangelist Christus Jesus Respondit Jesus: Jesus answered: Tu dicis quia rex sum ego. Ego in hoc natus sum et You say that I am a king. For this I was born and for ad hoc veni in mundum, ut testimonium perhibeam this I came into this world, to bear witness to the Christus Jesus veritati: omnis qui est ex veritate audit vocem truth: all those who are of the truth, listen to my A temetipso hoc dicis, an alii dixerunt tibi de me? Do you say this of your own accord, or have others meam. voice. said this to you about me? Evangelista Evangelist Evangelista Evangelist Respondit ei Pilatus: Pilate said to him: Respondit Pilatus: Pilate answered: Pilatus Pilate Pilatus Pilate Quid est veritas? What is truth? Numquid ego Judaeus sum? Gens tua et pontifices Am I a Jew? Your own people and your priests have tradiderunt te mihi: quid fecisti? handed you over to me: what have you done? Evangelista Evangelist Et cum hoc dixisset, iterum exivit ad Judaeos et And when he had said this, he went out once more Evangelista Evangelist dicit eis: to the Jews and said to them: Respondit Jesus: Jesus answered: Pilatus Pilate Christus Jesus Ego nullam invenio in eo causam. I find no case against him. Regnum meum non est de hoc mundo. Si ex hoc My kingdom is not of this world. If my kingdom Est autem consuetudo vobis ut unum dimittam It is however a custom of you that I should release mundo esset regnum meum, ministri mei utique were of this world, my officers would assuredly have vobis in Pascha; vultis ergo dimittam vobis regem one man for you at the Passover; do you wish me decertarent ut non traderer Judaeis; nunc autem fought so that I would not be handed over to the Judaeorum? therefore to release the king of the Jews? regnum meum non est hinc. Jews; but my kingdom is indeed not from here. Evangelista Evangelist Evangelista Evangelist Clamaverunt ergo rursum omnes dicentes: They shouted out again, all saying: Dixit itaque ei Pilatus: Accordingly, Pilate said to him:

34 35 Chorus Choir Evangelista Evangelist Non hunc sed Barabbam. Not this one, Barabbas. Cum ergo vidissent eum pontifices et ministri, When they saw him the chief priests and the clamabant dicentes: officers cried out, saying: Evangelista Evangelist Erat autem Barabbas latro. Barabbas was a bandit. Chorus Choir Crucifige, crucifige eum. Crucify him, crucify him. Evangelista Evangelist Tunc autem apprehendit Pilatus Jesum et flagellavit. Then Pilate lay hold of Jesus and had him scourged. Evangelista Evangelist Et milites plectentes coronam de spinis imposuerunt And soldiers twisting a crown from thorns, placed it Dicit eis Pilatus: Pilate said to them: capiti eius et veste purpurea circumdederunt eum. on his head, and enclosed him in a purple robe. Et veniebant ad eum et dicebant: And they came up to him and said: Pilatus Pilate Accipite eum vos et crucifigite; ego enim non Take him yourselves and crucify him; I find no case Chorus Choir invenio in eo causam. against him. Ave, rex Judaeorum. Hail, king of the Jews. Evangelista Evangelist 07 07 Responderunt ei Judaei: The Jews answered him: Evangelista Evangelist Et dabant ei alapas. And struck him in the face. Chorus Choir Exivit ergo iterum Pilatus foras et dicit eis: Once more came out Pilate and said to them: Nos legem habemus, et secundum legem debet We have a law, and according to that law he ought to mori, quia Filium Dei se fecit. die, because he made himself the Son of God. Pilatus Pilate Ecce adduco vobis eum foras, ut cognoscatis quia Behold, I am bringing him forth to you, so that you Evangelista Evangelist nullam invenio in eo causam. may know that I find no case against him. Cum ergo audisset Pilatus hunc sermonem, magis Once Pilate had heard these words, his fear was the timuit. greater. Evangelista Evangelist Et ingressus est praetorium iterum et dixit ad And he went into the judgement hall once more, Exivit ergo Jesus portans coronam spineam et Jesus then came out wearing the crown of thorns Jesum: and said to Jesus: purpureum vestimentum. Et dicit eis: and the purple garment. And Pilate said to them: Pilatus Pilate Pilatus Pilate Unde es tu? Where do you come from? Ecce homo. Here is the man.

36 37 Evangelista Evangelist Erat autem parasceve Paschae hora quasi sexta. Et Hebrew, Gabbatha. Jesus autem responsum non dedit ei. But Jesus made no reply to him. dicit Judaeis: It was now the day of preparation for the Passover, Dicit ergo ei Pilatus: Pilate accordingly said to him: around the sixth hour. And Pilate said to the Jews:

Pilatus Pilate Pilatus Pilate Mihi non loqueris? Nescis quia potestatem habeo Do you refuse to speak to me? Do you not know Ecce rex vester. Behold, your king. crucifigere te et potestatem habeo dimittere te? that I hold the power to crucify you and the power to release you? Evangelista Evangelist Illi autem clamabant: They cried out: Evangelista Evangelist Respondit Jesus: Jesus answered him: Chorus Choir Tolle, tolle, crucifige eum. Away with him, away with him, crucify him. 08 08 Christus Jesus Evangelista Evangelist Non haberes potestatem adversum me ullam, nisi You would hold no power against me except that Dicit eis Pilatus: Pilate said to them: tibi datum esset desuper. Propterea qui me tradidit which were granted you from above. For that tibi, maius peccatum habet. reason, he who has handed me over to you bears the Pilatus Pilate greater sin. Regem vestrum crucifigam? Shall I crucify your king?

Evangelista Evangelist Evangelista Evangelist Et exinde quaerebat Pilatus dimittere eum. Thenceforth Pilate sought to release him. Responderunt pontifices: The chief priests answered: Judaei autem clamabant dicentes: But the Jews shouted out, saying: Chorus Choir Chorus Choir Non habemus regem nisi Caesarem. We have no king other than Caesar. Si hunc dimittis, non es amicus Caesaris. If you release this man, you are no friend of Caesar. Omnis enim qui se regem facit, contradicit Caesari. For all who make themselves kings oppose Caesar. Evangelista Evangelist Tunc ergo tradidit eis illum ut crucifigeretur. He then handed him over to them to be crucified. Evangelista Evangelist Susceperunt autem Jesum et eduxerunt eum. They received Jesus and led him away. Pilatus autem, cum audisset hos sermones, adduxit Now Pilate, once he had heard these words, brought Et baiulans sibi crucem exivit in eum, qui dicitur And he, carrying his own cross, went out to the place foras Jesum et sedit pro tribunali in loco, qui dicitur Jesus outside and seated him on the chair of Calvariae, locum, hebraice autem Golgotha: of the Skull, which in Hebrew is called Golgotha, Lithostrotos, hebraice autem Gabbatha. judgement, which is called the Pavement, in ubi crucifixerunt eum; et cum eo alios duos hinc et where they crucified him; and with him two others,

38 39 hinc, medium autem Jesum. one on either side, Jesus being in the middle. 09 09 Scripsit autem et titulum Pilatus et posuit super Pilate wrote out an inscription and placed it above Evangelista Evangelist crucem. Erat autem scriptum: Jesus Nazarenus Rex the cross. The inscription said: Jesus the Nazarene, Ut Scriptura impleretur, dicens: Such was fulfilled the Scripture which says: Judaeorum. the King of the Jews. «Partiti sunt vestimenta mea sibi et in vestem meam “They divided my garments among them and cast Hunc ergo titulum multi Judaeorum legerunt, quia Many of the Jews read this inscription, because the miserunt sortem.» lots for my clothes.” prope civitatem erat locus ubi crucifixus est Jesus, et place where Jesus was crucified was near the city, Et milites quidem haec fecerunt. And this is what the soldiers did. erat scriptum hebraice, graece et latine. and it was written in Hebrew, Greek and Latin. Stabant autem iuxta crucem Jesu mater eius et soror Near the cross of Jesus were standing his mother Dicebant ergo Pilato pontifices Judaeorum: Then the chief priests of the Jews said to Pilate: matris eius Maria Cleophae et Maria Magdalene. and the sister of his mother, Mary the wife of Cum vidisset ergo Jesus matrem et discipulum Clophas, and Mary of Magdala. Chorus Choir stantem quem diligebat, dicit matri suae: When Jesus saw his mother, and the disciple whom Noli scribere, Rex Judaeorum sed quia ipse dixit, You should not write, King of the Jews, but that he he loved, standing near her, he said to his mother: Rex sum Judaeorum. himself said, I am King of the Jews. Christus Jesus Evangelista Evangelist Mulier, ecce filius tuus. Woman, behold your son. Respondit Pilatus: Pilate answered them: Evangelista Evangelist Pilatus Pilate Deinde dicit discipulo: Then to the disciple he said: Quod scripsi scripsi. What I have written, I have written. Christus Jesus Evangelista Evangelist Ecce mater tua. Behold your mother. Milites ergo, cum crucifixissent eum, acceperunt When the soldiers had crucified him, they took his vestimenta eius et fecerunt quatuor partes, clothing and divided it into four parts, one for each Evangelista Evangelist unicuique militi partem, et tunicam. Erat autem soldier. His tunic, however, was seamless, woven Et ex illa hora accepit eam discipulus in sua. And from that hour the disciple took her into his home. tunica inconsutilis desuper contexta per totum. throughout from top to bottom. Postea sciens Jesus quia omnia consummata sunt, ut After this, knowing that everything had been Dixerunt ergo ad invicem: So they said one to another: consummaretur Scriptura, dixit: completed, and to fulfil the Scripture, Jesus said:

Chorus Choir Christus Jesus Non scindamus eam, sed sortiamur de illa cuius sit. Let us not tear it, but throw dice to decide who is to Sitio. I am thirsty. have it. Evangelista Evangelist Vas ergo positum erat aceto plenum. Illi autem A jar of vinegar stood there. So, putting a sponge full

40 41 spongiam plenam aceto hyssopo circumponentes of the vinegar onto a hyssop stick they held it up to obtulerunt ori eius. his mouth. Cum ergo accepisset Jesus acetum, dixit: When he had accepted the vinegar, Jesus said:

Christus Jesus Consummatum est. It is fulfilled.

Evangelista Evangelist Et inclinato capite, tradidit spiritum. And bowing his head, he gave up his spirit. Judaei ergo, quoniam parasceve erat, ut non Since it was the day of preparation, and so that the remanerent in cruce corpora sabbato (erat enim bodies would not remain on the cross during the magnus dies ille sabbati), rogaverunt Pilatum ut Sabbath (for that Sabbath was a day of special frangerentur eorum crura et tollerentur. solemnity), the Jews therefore asked Pilate for the Venerunt ergo milites, et primi quidem fregerunt legs to be broken and the bodies carried away. crura et alterius qui crucifixus est cum eo. Therefore came the soldiers, and broke the legs of Ad Jesum autaem cum venissent, ut viderunt eum the first man who had been crucified with him, and glossa iam mortuum, non fregerunt eius crura, then of the other. produced by sed unus militum lancea latus eius aperuit et When they came to Jesus, they saw that he was Carlos Céster in San Lorenzo de El Escorial, Spain continuo exivit sanguis et aqua. already dead and they did not break his legs, Et qui vidit testimonium perhibuit, et verum est but one of the soldiers pierced his side with a lance, for testimonium eius. Et ille scit quia vera dicit, ut et and at once came out blood and water. note 1 music gmbh vos credatis. And he who saw this evidence, asserts it that this Carl-Benz-Straße, 1 Facta sunt enim haec ut Scriptura impleretur: «Os testimony is true. And he knows the truth of what 69115 Heidelberg non comminuetis ex eo.» he is saying, so that you might believe it also. Germany Et iterum alia Scriptura dicit: «Videbunt in quem For all this was done so that the Scripture be [email protected] / note1-music.com transfixerunt.» fulfilled: “Not a bone of his shall be broken.” And again, another Scripture says: “They will look glossamusic.com on him whom they have pierced.”

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