The new hymn “Veni Creator,” with lyrics by the Carolingian scholar Rabanus Maurus (780–856) and composed by Marco Gemmani, choirmaster at St. Mark’s Basilica, was very well received. The work was commissioned from the maestro by the choir of Fulda Cathedral (Germany). The city is a bishopric, the custodian of the remains of St. Boniface (Germany’s first evangelizer), and for this reason a symbolic location where the German Bishops’ Conference convenes; Furthermore, Rabanus Maurus, author of the well-known text of the liturgical hymn to the Holy Spirit, was born in Fulda. “It is an honor for me,” says Gemmani, “because it is not often that a German choir commissions a piece of music from an Italian composer. Furthermore, it gave me great satisfaction to learn that the music, performed by the Fulda choir on September 28 during the opening Mass of the Bishops’ Conference, was very well received.” As a token of gratitude to the composer, the choir performed the liturgical hymn again in various cities throughout the Veneto region in the days that followed. Special permission was also granted for a performance in St. Mark’s Basilica in Venice. “It was a wonderful experience,” says Gemmani, “to be able to hear my composition in the splendid basilica where I work. I admit that on this occasion it felt strange to receive such warm applause because usually in the basilica—since the Marciana Chapel is located high up in the choir loft and hidden from the audience’s view—no one applauds the musicians and singers during or at the end of the liturgy.”
Gemmani’s music aims to revive the historical tradition of the Cappella Marciana, while remaining mindful of the need to appeal to a contemporary audience: “Venice,” explains Gemmani, “was famous for its double choir —that is, eight voices divided into two choirs, one larger and one smaller.” In this composition, I have revived the dialogue between the two choral sections, highlighting it above all from a dynamic and expressive perspective. I drew on the fundamental style of the sixteenth century, but I simplified the harmonies to make them easily understandable and employed a contrapuntal structure that would be clear even to non-experts.”. Despite the recent performance of his latest piece, the maestro’s compositional work continues: Gemmani is already working on other compositions for the basilica’s liturgy and others commissioned by churches and choirs in other countries. “I recently completed a new ‘Alleluia’ for the Gospel for the basilica—simple yet striking, and much appreciated by our reverend priests,” says Gemmani. Gemmani has served as Chapel Master at St. Mark’s Basilica for 26 years now, and he has always combined this important role with his work as a composer, music researcher, and educator (until his recent retirement from the Venice Conservatory). “Everything is connected,” explains Gemmani, “because my musical and compositional research stems precisely from the study of the immense repertoire of the basilica’s chapel.”
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