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• Taeggio, Giovanni Domenico: Cantate Domino

Taeggio, Giovanni Domenico: Cantate Domino

for 8 instruments in 2 choirs.

Giovanni Domenico Rognoni Taeggio was one of a large family of musicians: his father was Riccardo Rognoni, who published one of the diminution treatises in 1591 and composed some extremely elaborate viola bastarda settings (printed in LPM REP9), and his brother Francesco made an even greater contribution to the same field with his Selva di Varii Passaggi of 1620 (his viola bastarda pieces are in LPM REP15). Like his brother, Giovanni Domenico chose to spend his career in Milan, where he died shortly before 1626.
This piece, like his La Porta, already published in the present series (EML 160), is from Rognoni´s Canzoni a 4 & 8 voci of 1605. In common with two other doublechoir pieces in the collection, Tota pulchra es and Quemadmodum desiderat, it deliberately opposes vocal and instrumental styles; in all three pieces the second choir is texted, and has music that moves in a predominantly vocal style, while the first choir is untexted, and has music that mostly derives from the canzon da sonar; only at the very end of the piece do the two choirs come together and join in the same kind of music.
The original note values have been retained. Editorial accidentals appear printed small above the stave, applying to the one note only. The original accidentals are taken as applying to the whole bar, for the sake of simplicity.
This piece sounds very fine with a small vocal group in choir 2 and a quartet of stringed or wind instruments in choir 1. However, it can also work very well as an instrumental piece, provided the instruments are chosen to underline the contrast between the two choirs: for example, strings in choir 1, and cornetto and trombones in choir 2, or recorders in choir 1, and curtals in choir 2.