Back in May of last year when I was writing about Cima’s musical style I wrote this:
Stylistically I’d describe his vocal sacred music as a mix of moderate reformism and conservatism in which polyphony gradually gave way to some solo motets in a style, similar to Viadana’s. Similar, but not identical, because Cima’s music was far more influenced by contemporary secular vocal monody than that of Viadana. If you explore Cima’s music you’ll notice that he’s very happy to experiment with declamation and to embellish his subjects with ornamentation. It’s this mixture of Renaissance counterpoint and 17th-century Avant-garde musical trends that makes his music so interesting he may not have left us much but that which he did leave distils one of the most musically complex and rich periods of European musical history down to its essence.
You can hear what I meant by that very clearly in Cima’s setting of the first verse of Psalm 117 in the Vulgate it does sound at first hearing quite like something Viadana might have written but Cima takes it far further and with greater vitality that Viadana would ever have done. Enjoy :-).
Giovanni Paolo Cima (1570- 1630): Confitemini Domino
|Confitemini Domino, quoniam bonus, quoniam in sæculum misericordia ejus.||Give praise to the Lord, for he is good: for his mercy endureth for ever.|
Performers: Musica Figurata, Marcello Vargetto – bass.