Giovanni Croce

Born south of Venice in Chioggia in 1557, Giovanni Croce ("Cross") continued the Venetian school during the late Renaissance. The Venetian school had been founded by Adrian Willaert upon becoming choirmaster at St. Mark's in Venice in 1527. Croce sang in choirs in both Chioggia and Venice as a boy. He was certainly composing by 1585 when he was ordained into the clergy. In 1590 he became assistant choirmaster at St. Mark's Basilica beneath composer, Baldassare Donato, assuming the position of maestro di cappella upon Donato's death in 1603.

Croce published his first book, 'Madrigali Libro Primo', in 1585. Into the nineties he was a member of a singing troupe which made itself available for entertainment at such as banquets and the Carnival in Venice. In that capacity he composed masquerades which were a combination of the secular madrigal with popular songs of the time. One such had been 'Mascarate piacevoli et ridicolose per il carnevale' ('Delightful Comic Masquerades for Carnival') in 1590. 'Triaca musicale' ('A Musical Cure-All') arrived in 1595. Both were performed by I Fagiolini on 'Carnevale Veneziano' issued by Chandos Records in 2001. The Venetian Carnival had been officially held once a year on the day before Lent since 1296 AD. The closely related masquerade ball was held anywhere anytime someone with a ballroom took the notion. The common people celebrated Carnival in the streets while only dukes, queens and other face cards had the kind of space required for masquerade balls.

'Il Gioco dell'Occa'   Madrigal a 6 by Giovanni Croce

'The game of the goose'

No.6 of 'Triaca musicale'   Pub by Giacomo Vincenti in Venice in 1595

I Fagiolini directed by Robert Hollingworth   Album: 'Carnevale Veneziano'

The greater portion of Croce's works were sacred such as masses and motets. In 1596 he published 'Messe a cinque voci' containing 'Missa Prima Sexti Toni', 'Missa Secunda Tertii Toni' and 'Missa Tertia Octavi Toni'. His 'Motetti a quattro voci libro primo' followed in 1597. Between profane and sacred music at the time, in the secular climate compositions were generally expected to see various arrangements built upon basic originals. Renderings faithful to originals are often drier than they actually would have been. Composers supplied bones in anticipation that who performed them would put flesh on them with their own choice of instruments, etc.. Sacred music, however, permitted fewer freedoms, being rigidly measured by both the Catholic and Protestant Churches. Croce was among the latter composers firmly faithful to the edicts of the Council of Trent held by the Roman Church from 1545 to 1563, among the matters on its table being piety in music. As Croce was a conservative composer, curiosity is raised as to whether 'Missa Prima Sexti' multiplied from five to fifteen voices below would have been appropriate at Croce's time even did it meet all other criteria. Five voices meant five voices, simple and humble. Composing for double choirs a 8, inherited from Willaert, meant two choirs of four keeping things neat with embellishments minimal particularly as composing for two choirs was risky in itself. There was secular music for dancing in the fields. But in sacred music one kept to the book. The liturgy wasn't a barnyard festival where cows could add their own jazz too. Which is a complicated way of wondering if Croce might have thought at his time if the showmanship below didn't more glorify the choir, composer or music than God. I suspect that renderings of classical music in general naturally more reflect our times than centuries ago for any number of reasons from political atmospheres to electricity to that's simply how we do it so bug off. Since internal dialogue is become a pest, I'll finish my coffee now.

Kyrie of 'Missa Prima Sexti Toni'   Missa a 5 by Giovanni Croce

No.1 of 'Messe a cinque voci'   Pub by Giacomo Vincenti in Venice in 1596

Trinity Chamber Singers

'O Sacrum Convivium' ('Blessed Sacrament')   Motet a 4 by Giovanni Croce

No.1 of 'Motetti a quattro voci libro primo'   Pub by Giacomo Vincenti in Venice in 1597

Cappella Marciana directed by Marco Gemmani

Album: 'Missa Sopra La Battaglia / Motets'   Newton Classics 8802139/ 2012

'Cantate Domino'   Motet a 4 by Giovanni Croce   Text from 'Psalms 96:1-2'

'Sing to the Lord'

No.8 of 'Motetti a quattro voci libro primo'   Pub by Giacomo Vincenti in Venice in 1597

Musica Sacra directed by Chris Paraskevopoulos

'In Monte Oliveti'   Motet a 4 by Giovanni Croce

No.9 of 'Motetti a quattro voci libro primo'   Pub by Giacomo Vincenti in Venice in 1597

Cantores Carmeli / Michael Stenov

Other of Croce's nine publications listed at CPDL include his 1599 'Septem Psalmi poenitentiales sex vocum'. His last couple of books were collections of motets for eight voices published in 1603 and 1605.

'Laudans exultet gaudio'   Motet a 8 by Giovanni Croce

'Praise with exalting joy'

No.1 of 'Motetti a otto voci libro secondo'   Pub by Giacomo Vincenti in Venice in 1605

Cappella Marciana directed by Marco Gemmani

Album: 'Missa Sopra La Battaglia / Motets'   Newton Classics 8802139/ 2012

'Buccinate in neomenia tuba'   Motet a 8 by Giovanni Croce

'Blow the trumpet when the moon is new'

No.12 of 'Motetti a otto voci libro secondo'   Pub by Giacomo Vincenti in Venice in 1605

TMEA All State Choir

Though not a major composer in comparison to others, Croce's works were popularly disseminated throughout much of northern Europe including England. He passed away on 16 May 1609, having no role in the new baroque music that was just was emerging in Europe at the time.