Geoffroy Jourdain on 18th century music and Stabat Mater

Cappella Amsterdam, under the direction of French conductor Geoffroy Jourdain, presents Stabat Mater, a program that brings together centuries of sacred musical tradition. From the Baroque masters Antonio Lotti, Domenico Scarlatti, and Leonardo Leo to contemporary composers Silvia Borzelli and Matteo Gualandi, this music tells a story of emotion, faith, and the urge for renewal.

The Bridge Between Tradition and Modernity

Jourdain, known for his innovative interpretations of vocal music, has provided special insights into the repertoire he will perform with Cappella Amsterdam.

According to Jourdain, this program perfectly illustrates how composers through the centuries have given personal interpretations to religious themes. “The works of Lotti, Scarlatti, and Leo show how Baroque composers amplified emotions with bold harmonies and theatrical expression. Gualandi and Borzelli add a contemporary layer, focusing on introspection and the physical experience of sound,” he explains.

During the 17th and 18th centuries, sacred music underwent a remarkable transformation. The rise of secular genres and the introduction of new musical styles resulted in a fusion of tradition and innovation. The outcome? Breathtaking compositions that both honored the past and placed the emotions of the listener at the center.

Stile Antico: A Bridge Between Renaissance and Baroque

In the Baroque era, the term a cappella was no longer exclusively used for pure vocal polyphony but also for music in which voices were supported by a basso continuo. This style, known as stile antico or the “old style,” is rooted in the contrapuntal tradition of the Renaissance, particularly inspired by masters like Palestrina. Baroque composers adopted this tradition, not merely to imitate it but to add a new, expressive dimension.

Antonio Lotti’s Crucifixus and Dies Irae

Antonio Lotti, who was closely associated with the Basilica of San Marco in Venice, combined bold harmonies with a reverence for tradition. His Dies Irae comes from a missa pro defunctis he referenced in his will. Despite criticism of his modernity during his time, Lotti’s music remains strikingly timeless, resonating with listeners through its deep emotional expression. His masterpieces bridge the polyphonic tradition of the Renaissance with the expressive style of the Baroque.

Domenico Scarlatti: A Fascinating Stabat Mater

One of the most intriguing examples of Baroque sacred music is Domenico Scarlatti’s Stabat Mater for ten voices. Jourdain notes that this work, rediscovered in 1941, demands not only technical virtuosity from the singers but also a profound emotional commitment. Although no original manuscripts exist, rare copies suggest that this piece was written for the singers of the Cappella Giulia in the Vatican. Scarlatti’s Stabat Mater is an emotional journey that vividly brings the suffering Mary at the foot of the cross to life.

Leonardo Leo: Miserere Mei, Deus

Leonardo Leo’s Miserere was as famous in the 18th and 19th centuries as that of Gregorio Allegri. In 1880, Richard Wagner heard this piece in Naples, inspiring the “dome chorus” scenes in Parsifal. Leo’s music, with its balance between simplicity and intensity, remains a powerful example of Baroque emotion. Jourdain emphasizes how this work, with its rich textures, bridges the gap between simplicity and grandeur.

Theatrical Expression in the Baroque

What unites these works is the way they bring theatrical expression into the church. Baroque composers used music to heighten the emotions of sacred texts. Themes such as Mary’s suffering, the Last Judgment, and repentance resonated deeply with audiences, making sacred music an almost theatrical experience. Jourdain, known for his innovative interpretations of vocal music, has shared unique insights into the repertoire he will perform with Cappella Amsterdam.

The Bridge Between Tradition and Modernity

Jourdain, known for his innovative interpretations of vocal music, has provided special insights into the repertoire he will perform with Cappella Amsterdam.

According to Jourdain, this program perfectly illustrates how composers through the centuries have given personal interpretations to religious themes. “The works of Lotti, Scarlatti, and Leo show how Baroque composers amplified emotions with bold harmonies and theatrical expression. Gualandi and Borzelli add a contemporary layer, focusing on introspection and the physical experience of sound,” he explains.

Silvia Borzelli and Matteo Gualandi

The contemporary contributions of Gualandi (piccolo requiem) and Borzelli (cuerpo desierto) add new dimensions to this program. “These works invite reflection on how we approach the themes of death and suffering today,” says Jourdain. Read more about the compositions of Borzelli and Gualandi in the Discover articles on cuerpo desierto and piccolo requiem.

An Experience of Contrasts

With this concert, Cappella Amsterdam offers a musical experience where Baroque and modernity converge. Thanks to Jourdain’s insights, we gain a deeper understanding of how composers have addressed the same themes in their own ways throughout the centuries. The result is a program that both moves and inspires.