Giovanni Rovetta News
- Republic of Venice
- composer, presbyter
[…] of the newer violin family to play the piece), and the work seemed to be full of harmonic daring as well as giving us a lovely contrast between the elegant vocal line and the texture of the viols. Franz Tunder (1614–67) came from the island of Fehmarn, between Schleswig-Holstein and Denmark and studied in Copenhagen, but he may also have visited Florence. His Salve me Jesu was an arrangement of a Salve regina by Giovanni Rovetta (1595/7–1668) but with a new Latin text (to Jesus rather than the Virgin). It was a lovely fluid and flexible motet, a little gem. Finally came Es war aber an die Stätte by Christian Geist (?1650–1711). Geist was born in Güstrow, just south of Rostock, but spent most of his life working in Scandinavia, working in Copenhagen, Stockholm and Göteborg. Hids piece proved very fluid of form and rather striking. In St Lawrence Parish […]
Galilei Consort/Chénier (Alpha Classics)It was only after 23 years of marriage that Louis XIII managed to produce an heir in 1638, and the relief was so great that a huge four-day celebration was mounted in Venice. In the lead was Giovanni Rovetta, deputy maestro at St Mark’s, who assembled the music at the basilica San Giorgio. Truth to tell, his music is not the most inventive here, though there is a most impressive large-scale Credo. Giovanni Rigatti supplies other parts of the mass, and the show is stolen by Monteverdi’s Adoramus te, Christe. The acoustics of the Chapelle Royale at Versailles make a good setting for Benjamin Chénier’s lively singers and players. Continue reading...
Giovanni Rovetta (1596-1668) Venetian solemn Vespers for the Birth of Louis XIV Cantus Cölln, dir. Konrad Junghänel Harmonia Mundi - Musique d'abord (2001) HMA 1951 706 Rovetta was maestro di cappella in San Marco in Venice during 1644-1668, after Monteverdi and before Francesco Cavalli (flac & scans)
[…] age 37 to 59, or from 1815 to 1837. The Studies are organized in cycles defined by their key (hence the title “Studies in the form of Suites”), meant to show that contained forms can give origin to more ample musical paths, able to shed new light on the single pieces. In order to recreate the original timbre of these pieces, the guitar used for this recording is an original instrument made by the Rovetta Brothers in 1817, perfectly preserved. It is characterised by a gorgeous floral wooden decoration in relief at each side of the bridge. The purfling around the soundboard, the rosette, and the final part of the figerboard are inlayed with a series of ivory triangles. Back and sides are in curly maple. The neck, slim and elegant, is made from pear wood stained black. Here is music by Vivaldi:
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