Gregor Aichinger (1564-1628)
Virgo, Dei Mater pura
Virgo, quoe salutata
Virgo, quoe charitae ardens
Virgo, Mater benigna
Virgo, quoe tuum Natum
Virgo, cui post dolores
Virgo, quoe benedictum filium tuum
Virgo, quoe caput sanctum
Virgo, cuius dilectus filius
Virgo, quoe clavis nudum
Virgo, quoe prima sole
Virgo, quoe triumphantem filium
Virgo, quoe comitata Apostolis
Virgo, cuius in coelum anima assumpta fuit
Virgo, quoe coronata a Sancta Trinitate
Virgo, coeli Regina
Virgo, sole vestita
Virgo, cuius stat luna sub pedibus
Virgo, sublime exemplum

Andrea Gabrieli (1520-1586)
Toccata dell'ottavo tono
Ricercare dell'ottavo tono

Giovanni Gabrieli (1554-1612)
Toccata del secondo tono
Fuga del settimo tono
Toccata

Riccardo Quadri, orgue
Concentus Vocum
Michelangelo Gabbrielli, direction

Gregor Aichinger (1564-1628) : Un compositeur bavarois parfaitement inconnu, pratiquant lors de la passionnante période de transition entre Renaissance et baroque, missionné par la dynastie banquière des Fugger pour se former en Italie, où il a longuement séjourné, bénéficiant notamment de l'enseignement des maîtres vénitiens Gabrieli, l'oncle Andrea et le neveu Giovanni...Des hymnes à la Vierge...A priori, tout semblait réuni pour faire de cet album un passionnant projet de découverte d'inédits. Mais la réalisation n'est pas à la hauteur des attentes. Le chœur ne nous offre qu'une pâte sonore confuse. Est-ce un problème technique ? Les morceaux d'orgue des Gabrieli sont à peine mieux traités. Un essai à transformer. (Marc Galand)

The experience of Gregor Aichinger (Regensburg, 1564/65 – Augsburg, 20/21 January 1628) in Italy, which took place during two distinct periods, made it possible for the Bavarian musician to be an important connection between the music that was practiced at that time in Italy and the musical culture on the other side of the Alps (Aichinger was one of the very first German musicians to publish compositions with basso continuo, a practice with which he had become acquainted precisely during his visits to Italy). The Virginalia consist of twenty five-part pieces. The introductory one, Virgo, Dei mater pura, is followed by the pieces of the Joyful Mysteries (from the second to the sixth), then – from the seventh to the eleventh – by those of the Sorrowful Mysteries, and subsequently – from the twelfth to the sixteenth – by those of the Glorious Mysteries. In the last four pieces there is a contemplation of the Virgin Mary, by now projected in a light and a dimension that are beyond the world, as the mediator between mankind and God. The collection dedicated to Maria is performed by the Ensemble Concentus Vocum directed by Michelangelo Gabbrielli, already protagonist in some important world premiere recording of the Armonia Ecclesiastica 1653 by Sisto Reina [tc621801].