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Serafoni Cantone
c.1565 - 1630
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S. Cantone
Serafoni Cantone (c.1565 - 1630), an Italian composer. About Serafino Cantone and his life is less known. Cantone was mainly active in Milan, where he was organist of the Cathedral. Round 1592 Cantone maybe active also in Venice. Cantone’s music was appreciated, as well as in Milan, also in Bavaria, Prussia, and Silesia. He composed sacred music and was known for his motets. Five books with music are known. Motetti a 5 libro secondo (1605), Motetti concertati alla moderna (1625), un'Academia festevole concertata a sei voci (Milano, 1627) e libri di madrigali.
Author:Wim Goossens
Peccantem me Quotidie
Period:High Renaissance
Composed in:1599
Musical form:Motet à 8 vocibus
Text/libretto:Latin from Responsorium de Officium Defunctorum
The plainchant Peccantem me Quotidie is an old Responsorium/Respond form Matins of the Dead and is published in the Liber Usualis (ed. 1936 page 1797) after Lectio VII/Lesson VII. The plainchant Peccantem me quotidie is an old Respond. There are about 138 Responsoria known used during centuries in the Office of the Dead. This motet Peccantem me Quotidie is written by Cantone for eight voces CATB and CATB in polychoral style. Cantone uses the general used Respond text with the belonging Versicle “Deus in nomine tuo”. This motet is set by Cantone in the Polychoral style and that’s exceptional. Cantone starts with a modest short imitative polyphonic style in choir-I. Cantone uses some dissonances to express his feeling to the text. Cantone uses word painting in the words “Timor mortis” in both choirs. Full notes in three bars (14-16) are larded with 1/8 notes in Altus-I and Tenor-I to underline the importance of this text. Here starts the alternation between the two choirs. In “Quia in inferno” Cantone creates an austere sphere with low notation in both choirs. But next in bar 25 up to 38 Cantone changes the time signature in 3/1 for a Respond in the Office of the Dead remarkable seen the text “nulla est redemptio”. The phrase “Deus in nomine tuo salvam fac et in virtute tua libera me” is written with feeling and high polychoral level in both choirs with expression and tension. From bar 55 in “Quia in inferno” Cantone changes the order of the two choirs. Choir I starts now in low austere texture and all music we discussed from bar 25 will be repeated by both choirs but in the changed order. This splendid setting ends in full A. This motet consist out of 92 bars and is published in Sacræ Cantiones & c. Octonis vocibus decantandæ (Milano 1599).
Author:Wim Goossens
R. Peccantem me quotidie et non penitentem,
Timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.
V.Deus, in nomine tuo salvum me fac,
et in virtute tua libera me.

R. Every day I sin and I am impenitent.
The fear of death troubles me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.
V.O God, in your name save me,
and by your strength set me free.
Contributor:Wim Goossens