Salomone de Rossi
Salomone Rossi- Al Naharot Babel- excerpt only
Salomone Rossi- Kaddish
Salomone Rossi - Lamnatséah 'al hagitít - excerpt only
All music here is performed by the Profeti della Quinta Vocal Ensemble
Salomone Rossi: 'The Song of Solomon' and instrumental music
Profeti Della Quinta - Pan Classics 2009 (PC 10214)
For full music, visit Youtube at:
Full Kadish: https://www.youtube.com/watch?v=HOdnDeNNhok
Lamnatséah 'al hagitít: https://www.youtube.com/watch?v=enNNDmc9PLg
Al Naharot Bavel: https://www.youtube.com/watch?v=HubKpEPkkYw
A violinist in Monteverdi's orchestra, Salomone de Rossi (c.1570 – 1630) is credited with having invented the trio sonata. His introduction of polyphonic music to the synagogue, where only monody had been accepted as suitable, earned him both contempt and praise from members of his community. In his role as court and synagogue composer, Rossi inhabited two musical worlds creating a dynamic social interaction between Jews and Christians.
As a young man, Rossi acquired a reputation as a talented violinist. In 1587, he was employed as a court musician in Mantua, where records of his activities as a violinist survive. Like the other Mantuan court musicians, Rossi started as a madrigalist but soon tried his creative talents at the new style of ornamental monody, i.e., songs or instrumental pieces with one leading solo voice supported by a fundamental bass. He is considered the pioneer of these new baroque forms which include the trio sonata and suite. His compositions include the Canzonette (1589) and the Madrigaletti (1628).
As a Jewish musician, his lasting contribution is his Ha-Shirim Asher L’Shlomo, 33 settings for three to eight voices of Hebrew texts, comprising psalms, hymns, and other religious poems for festive synagogue services. The settings are composed in the then prevailing a cappella style of Palestrina and G. Gabrieli, with intent to regenerate traditional musical liturgy with polyphonic choral settings.
Salomone de Rossi’s collected synagogue compositions, Ha-Shirim Asher L’Shlomo, were printed in Venice in 1622/23, with a preface by Leone da Modena. De Rossi’s choral works for the synagogue had already been performed from a manuscript from Mantua (possibly also from Ferrara where a Benjamin Saul Min-ha-Adumim was ḥazzan before 1612).
The three-to eight-voiced compositions of the Ha-Shirim Asher L’Shlomo are a unique phenomenon in early synagogue music.
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