A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z 
Vincenzo Bertolusi
c.1550 - 1608
No picture
V. Bertolusi
Vincenzo Bertolusi (ca. 1550 - 1608), an Italian composer; came from Murano near Venice and is likely assumed to have studied music in Venice too. Less is known about his early career. Like another Italian colleague Annibale Stabile (c.1535-1595) Bertolusi arrived in Cracow, Poland in 1595 and remained in that city as organist. In that time during the reign of King Sigismund III of Poland (1566-1632) there was a Cappella – consisting out of 20 adult musicians - at the Vasa court in Cracow. Sigismund tried to engage more Italian musicians. Bertolusi was musician and organist at the court Cappella of the Vasa’s. Nevertheless at that time most members of the ensemble came mainly from Poland and Lithuania. Members and Italian Maestro di Cappella – besides Bertolusi - at the court are: Annibale Stabile, Luca Marenzio (1553-1599), Guilio Cesare Gabussi (1555-1611) and Asprilio Pacelli ( c.1570-1623). In 1607 Bertolusi transferred with other musicians – due to the rebellion - to the court of King Christian IV of Denmark (1577-1648). Unfortunately there are no great musical memorabilia of Catholic religious music of the Vasa cappella left. Only the anthology Melodiae Sacrae by the Poland editor Bazyli Skalski (ca. 1570 - ) contains religious work from Italians serving at the Vasa-court. Most other manuscripts in general were destined for the use of Protestant communities. Staying in Poland Bertolusi published in 1601 a book of motets for six to ten voices Sacrarum cantionum ... sex, septem, octo, & decem vocibus, liber primus, Angelo Gardano, Venezia. After leaving Poland in 1607 Bertolusi died in 1608 in Denmark.
Author:Wim Goossens
Peccantem me quotidie
Period:High Renaissance
Musical form:Motet à 6 vocibus
Text/libretto:Latin from Responsorium de Officium Defunctorum
Label(s):Coro COR16141
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 Bertolusi for six voces CATTBB. Bertolusi uses only the Respond text and omitted the belonging Versicle “Deus in nomine tuo” besides Bertolusi changes the rotation of the last two sentences. Bertolusi uses a modest imitative polyphonic style in all parts with a modest musical tuning/texture. Bertolusi uses sharps and dissonances to express his feeling to the text. Note the descending lines in Timor Mortis (bar 18 -22) in Cantus, Tenor II and Cantus again. In Quia in inferno “for in hell” ( Bar 40-49) Bertolusi quotes nearly the same phrase in all parts. It’s his way of describing the hell (inferno). And as a warning in the following bars up to the end Bartolusi continues in warning for the pain in the hell (starting in Tenor II, Cantus, Tenor I and Bassus I ) and at the same time the other parts quotes “there is no redemption”. At the end he changes the roll of all parts in “there is no redemption”. Bartolusi ends his Peccantem me Quotidie in full faith with E major Phrygian. This motet consist out of 57 bars and is published in Promptuarii musici (vol. 4), 1617.

♫ Peccantem me quotidie
© Coro COR16141
Author:Wim Goossens
Peccantem me quotidie et non penitentem,
Timor mortis conturbat me.
Miserere mei, Deus, et salva me.
Quia in inferno nulla est redemptio.

I who sin every day and I am not penitent
the fear of death troubles me:
Have mercy upon me, O God, and save me.
For in hell there is no redemption.
Contributor:Wim Goossens