This tradition, even if has found many comparisons from scientific investigation on the Shroud, is not yet proved. For sure the Holy Shroud, for the characteristics of its trace, represents a direct and immediate reference that helps comprehending and meditating the dramatic reality of Jesus’ passion. For this reason the Pope has defined it mirror of the Gospel. Nowadays the first sure and uncontrovertible documentary testimonies linked with the Holy Shroud of Turin date the half of the fourteenth century , when Geoffroy de Charny, valiant knight and man of deep faith, placed the Shroud in the church of his feud, not far from Troyes. During the first half of the fifteenth century because of the sharpening of the Hundred Years’ War, Marguerite de Charny took back the Holy Shroud and brought it with her in her roam through Europe. At last she found welcome at the court of Savoy, to which her father and her second husband, Umbert de la Roche, were linked. Was in that situation that happened, in 1453, the removal of the Shroud in the extent of a series of legal transaction between the Duke Ludovico and Marguerite. From 1471, Amedeo IX the Blessed, son of Ludovico, became embellishing and enlarging the chapel of Chambery castle, capital of the Dukedom, in order to receive the Shroud. After an initial placing in Franciscan church, the Holy Shroud was definitely placed in Sainte Chapelle du Saint Suaire. In that context the Savoy asked and obtained from Pope Giulio II the recognition of a liturgical feast, dated on May 4th. December 4th 1532 a fire devastated Sainte Chapelle and caused to the Shroud numerous damages, that were restored in 1534. Emanuele Filiberto transferred definitely the Holy Shroud in Turin in 1578. The Shroud arrived in the city September 14th of the same year and remained there, where was object of many expositions.


The authors

LORENZO PEROSI
Son of Giuseppe Perosi, Kapellmeister in Tortona Cathedral and main character in the reform of sacred Italian music, Lorenzo Perosi was born in Tortona December 21st 1872 and died in Rome December 12th 1956. Started by his father on musical studies, began regular studies at Conservatory of Santa Cecilia in Rome and, later, at Conservatory “Giuseppe Verdi” in Milan with M. Saladino. In 1890 was appointed organ player and master of the choir at Montecassino Abbey. In 1892 he resumed his studies at Conservatory of Milan, getting a diploma and then specializing in Ratisbon with F.X. Haberl and M. Haller in 1893. Towards the end of that year undertook the task as master of the choir in Imola seminary, directing the Cathedral’s chapel, as that of San Marco in Venice. Ordained priest, he conducted performances of his own oratorio compositions and in 1898 became the chief of the Sistine Chapel and in 1903 with the title of permanent master, commitment that he must interrupt between 1915 and 1923 because of health problems. October 22nd 1930 was appointed Accademico d’Italia.

MARCO ENRICO BOSSI
Composer, organ and piano player, was born in Salò April 25th 1861 and died during the passage from New York to Le Havre February 20th 1925. Belonging to a family of organ players, he studied first with his father Pietro, then at Liceo Musicale in Bologna, where he was student of G. Poppi and, at Conservatory of Milan with P. Fumagalli, F. Sangalli, C. Boniforti, Ponchielli, Dominiceti and Bazzini. Was Kapellmeister in Como Cathedral, teacher at Conservatory of Naples, director of Liceo Musicale of Venice and then of Bologna till 1911. From 1916 to 1922 was director of Liceo Musicale of Santa Cecilia in Rome. Arrived in 1924 in new York and Philadelphia for a series of concerts, died during the way back.

REMIGIO RENZI
Organ player and composer, was born in Rome October 1st 1857 and died in Rome November 19th 1938. Completed musical studies in his own city with S. De Sanctis and G. Capocci, from 1880 to 1882 was organ player in Holy Shroud’s Church. Gained the contest for Cappella Lateranense, was active for some times, passing then in San Pietro, where he stayed for long. From 1887 to 1930 was organ teacher at Conservatory in Rome. He also carried out activity concert in Italy and abroad. Besides he was partner and musical director during the funerals of the Kings of Italy.

ULISSE MATTHEY
Piano and organ player, composer, was born in Turin April 17th 1876 and died in Loreto July 6th 1947. Prodigy pianist as far as five years old, he studied at Liceo Musicale “Giuseppe Verdi” of Turin. Was also student of Ferroni in Counterpoint, Fugue and Composition in Milan. After a period of improvement with A. Guilmant in Paris, he began a brilliant concert activity in Italy, Europe, United States and South America. Regular organ player at Santa Casa di Loreto from 1901, he became professor at Liceo Musicale of Turin from 1923 to 1942, opening however the organ recently restored. Marco Enrico Bossi has dedicated to him Fantasia Sinfonica.


The texts

LORENZO PEROSI
Magnificat
For Organ and Choir

Here on end it is proposed the Song’s text in translation by Vulgata in its liturgical version. Magnificat takes the name from the first word of this version. In centuries it has had a huge spread, entering from the origin in the vespers.

Magnificat
anima mea Dominum,
et exultavit spiritus meus *
in Deo salutari meo
quia respexit humilitatem ancillae suae, *
ecce enim ex hoc beatam me dicent omnes generationes
quia fecit mihi magna, qui potens est: *
et Sanctus nomen eius
et misericordia eius a progenie in progenies *
timentibus eum.
Fecit potentiam in brachio suo, *
dispersit superbos mente cordis sui,
deposuit potentes de sede, *
et exaltavit humiles;
esurientes implevit bonis, *
et divites dimisit inanes.
Suscepit Israel, puerum suum, *
recordatus misericordiae suae,
Abraham et semini eius in saecula.
Gloria Patri et Filio *
et Spiritui Sancto
sicut erat in principio et nunc et semper *
et in secula seculorum. Amen.
Lc 1, 46 - 55

Here on end it is proposed the official English translation.

My soul doth magnify the Lord,
and my spirit hath rejoiced in God my Saviour
because he hath regarded the humility of his handmaid,
for behold from henceforth all generations shall call me blessed
because he that is mighty hath done great things to me:
and holy is his name
and his mercy is from generation unto generations
to them that fear him.
He hath showed might in his arm,
He hath scattered the proud in the conceit of their heart,
He hath put down the mighty from their seat and hath exalted the humble,
He hath filled the hungry with good things;
and the rich he hath sent empty away.
He hath received Israel, his servant,
being mindful of his mercy,
as he spoke to our fathers
to Abraham and to his seed for ever.
Glory be to the Father, and to the Son
and to the Holy Ghost
as it was in the beginning, is now, and ever shall be
world without end. Amen.


LORENZO PEROSI
Confitebor tibi Domine – Salmo 110
For Organ and Choir

Confitebor tibi, Domine
in toto corde meo
In consilio justorum et congregatione.
Magna opera Domini,
exquisita in omnes voluntates eius.
Confessio et magnificentia opus eius,
et justitia eius manet in saeculum saeculi.
Memoriam fecit mirabilium suorum;
misericors et miserator Dominus,
escam dedit timentibus se.
Memor erit in saeculum testamenti sui;
virtutem operum suorum annuntiabit populo suo.
Ut det illis hereditatem gentium;
opera manuum eius veritas et iudicium.
Fidelia omnia mandata eius,
confirmata in saeculum saeculi,
facta in veritate et aequitate.
Redemptionem misit populo suo,
mandavit in aeternum testamentum suum
Sanctum et terribile nomen eius:
initium sapientiae timor Domini.
Intellectus bonus omnibus facientibus eum;
laudatio eius manet in saeculum saeculi.
Gloria Patri et Filio, et Spiritui sancto,
sicut erat in principio et nunc et semper,
et in saecula saeculorum. Amen.

Viene proposta di seguito la traduzione ufficiale della CEI nella sua versione liturgica: è quella utilizzata normalmente dai fedeli nella celebrazione dei Vespri.

Renderò grazie al Signore con tutto il cuore,
nel consesso dei giusti e dell’assemblea.
Grandi sono le opere del Signore,
le contemplino coloro che le amano.
Le sue opere sono splendore di bellezza,
la sua giustizia dura per sempre.
Ha lasciato un ricordo dei suoi prodigi:
pietà e tenerezza è il Signore.
Egli dà il cibo a chi lo teme,
si ricorda sempre della sua alleanza.
Mostrò al suo popolo la potenza delle sue opere,
gli diede l’eredità delle genti.
Le opere delle sue mani sono verità e giustizia,
stabili sono tutti i suoi comandi,
immutabili nei secoli per sempre,
eseguiti con fedeltà e rettitudine.
Mandò a liberare il suo popolo,
stabilì la sua alleanza per sempre.
Santo e terribile il suo nome.
Principio della saggezza è il timore del Signore,
saggio è colui che gli è fedele;
la lode del Signore è senza fine.


LORENZO PEROSI
Missa Pontificalis (prima)
tribus vocibus inequalis concinenda
organo comitante

Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

It belongs to the Venetian period of Perosi and it is named after Cardinale Andrea Ferrari, archbishop of Milan (1850-1921).


The biographies

Choral Academy
“Stefano Tempia”
Founded in 1875, it is the most ancient musical association of Piedmont and of Italy. Historical reference for the education to music and the spread of the repertoire a cappella and symphonic-choral, the Academy distinguish itself from the origin because of the frequent cooperation with prestigious directors (Giovanni Bolzoni, Giuseppe Martucci, Lorenzo Perosi, Arturo Toscanini) and the realization of great cultural events like the first performances in Turin of Oratorio Judas Macchabeus by Handel (April 19th 1885) and of Nona Sinfonia by Beethoven (March 18th 1888) at Teatro Regio, directed by the same Toscanini. The Academy grants a privilege to the bent facing up to complete performances of compositions with great breath, from Requiem by Cherubini to Messa di Gloria by Puccini, from Mozart’s Symphonies to Symphonic Poems by Great Romantics. Today the Academy is determined on aims like educating people to the knowledge of choral singing and to the love for classical music. However it confirms its vocation on exploring the unknown repertoire, proposing pieces and works not performed yet, also by great authors. We identify in musical meetings the origins of the Academy: these happened from 1866 at Conte Vittorio Radicati di Marmorito’s house and in which participated professionals and music lovers. But it was in 1875 that the violinist, composer and director of the choir Stefano Tempia founded the Academy. The heart of the Academy was the polyphonic choir in which components were called accademici. Their first performance took place March 12th 1876 under the direction of Tempia inside Liceo Classico “Gioberti” in Turin. Till 1935, when the hall of the Conservatory “Giuseppe Verdi” became the official place for concerts. The Choir of the Academy is composed by 60 elements that become regulars after attending the courses and passing the final exam.

Soprani
E. Ciuti, A. Sole Canaparo, C. Carducci,
P. Castaldelli, E. Cigliutti, M. R. Ferro, A. Finotti, P. Gotti, C. Lirelli, C. Mariella, M. Mazzoni,
A. Mennea, R. Oreggia, C. Orlandini, M. Rama, G. Rapelli, G. Sicuro, A. Turano.
Contralti
M. Alì, C. Bertana, T. Bisi, G. Bivona, G. Buffetti, D. Craciun, A. Dettoni, C. Di Eugenio,
M. Gentile, P. Lipsi, F. Lisco, M. T. Loccisano, T. Nicola, E. Pemmer, C. Scifo, E. Signorino, C. Zerbini.
Tenori
P. Abergo, P. Barletta, A. Basaldella, A. Cora,
U. dè Liguoro, F. Nasali, G. Panarelli, M. Pollone, M. Ravizza, L. Ronzitti, F. Torta, M. Tozzi.
Bassi
U. Ala, L. Buscatti, L. Callegaro, F. Cavaliere,
F. Cerina, F. Coppo, M. Cravino, S. Elìa,
G. Garbolino, E. Lo Gatto, A. Olivetti, M. Penso, N. Primiterra, C. Secchi.

MICHELE FREZZA
In 1988 got a diploma at the Conservatory of Turin under the guide of Raffaele Cirulli Cristiano. He cooperates since October 1990 as Master of the Choir and as a piano player accompanist with the Choral Academy “Stefano Tempia” of Turin. Since 1993 he is teacher of Musical Education at Collegio “Sacra Famiglia”, holding at the same time the office of Artistic Director of the Choir SA.FA. In 2001 he has founded the Choral Association “Phonèiron” sharing and holding with Lino Mei the office of Artistic Director.

MASSIMO NOSETTI
Nato ad Alessandria nel 1960, ha studiato organo, composizione, polifonia vocale, musica corale e direzione di coro presso i Conservatori di Torino e Milano. Per l’organo, dopo il diploma conseguito sotto la guida di E. Girardi e G. Donati, si è perfezionato con i Maestri Pierre Pidoux e Jean Langlais.
E’ attualmente docente di Organo e Composizione organistica al Conservatorio di Cuneo e, dal 1981, organista titolare del Santuario di Santa Rita in Torino. Direttore del Segretariato Organisti dell’Associazione Italiana Santa Cecilia, è stato nominato nel 2005 organista titolare della Cattedrale di Torino.
Un’intensa attività concertistica in quasi tutti i Paesi europei così come pure in America del Nord e del Sud, Asia e Oceania lo porta spesso a esibirsi nei più importanti Festival organistici internazionali. Sul versante della didattica ha condotto numerose master class sulla letteratura organistica romantica e post-romantica in svariate sedi universitarie, particolarmente in Giappone, Corea e USA. All’attività di esecutore viene affiancata quella di direttore di coro (con il Gruppo Vocale “Cantus Firmus” da lui fondato) e d’orchestra e quella di compositore con la pubblicazione di numerosi lavori, principalmente organistici e corali. Sue sono le musiche per i filmati di presentazione delle ostensioni della S. Sindone a Torino nel 1998 e 2000 eseguite dall’Orchestra Sinfonica Nazionale della RAI. Tra gli ultimi lavori editi si segnala il volume L’Organista per la Liturgia (ed. Eurarte) e la raccolta di brani organistici A Portrait of M. Nosetti (ed. Animus, GB). Membro della Commissione Diocesana di Musica Sacra, egli si occupa delle problematiche progettuali, costruttive e di restauro legate all’organo.  Oltre alle collaborazioni e registrazioni per vari enti radiofonici italiani e stranieri, la sua produzione discografica comprende 29 CD dedicati a differenti aspetti della letteratura d’organo, prevalentemente dal romanticismo ai nostri giorni, per le etichette Rusty Records, Carrara, Bnl e Syrius.

Polyphonic Choir of
Sommariva Bosco
Founded in 1970, has on the credit side numerous concerts in Italy and abroad (France, Switzerland, Czech Republic, Greece), participations at Reviews and National and International Concerts. Around the polyphonic choir there are many enterprises in order to spread choral song and music culture: the international review Incontri Corali, specialized groups as Schola gregoriana, the vocal instrumental baroque ensemble Gli Affetti Musicali, the renaissance dance group Incontradanza, the sestet Novantiqua.

Soprani
E. Battaglino, F. Rocco, C. Rubinetto,
R. Battaglino, G. Garza, L. Marengo, L. Paruccia.
Contralti
S. Appendino, M. T. Beltrando, M. Borsello,
F. Emanuel, V. Strumia.
Tenori
M. Olivero, N. Demichelis, M. Morra,
G. Giachetto.
Bassi
G. M. Giolito, A. Ferrero, M. Sibona.

ADRIANO POPOLANI
He begins his musical studies under the guide of his parents, continues his forming at the Conservatory of Turin, where he studies Harmony and Counterpoint with Alessandro Ruo Rui, Choral Music and Direction of Choir with Sergio Pasteris and paolo Tonini Bossi, Piano with Maria Gachet and Vera Drenkova. Nowadays he studies Gregorian chant with Fulvio Rampi. He has attended Choral Music Workshops under the direction of Marco Berrini, Choirs and Vocal Groups Course “Le voci del Novecento” with Vytautas Miskinis, Choral Direction’s Laboratory “Fosco Corti” with Anna Seggi Corti, Alessandro Ruo Rui and Dario tabbia, besides a Master Class with Antonio Abete, Diego Fratelli and King’s Singers. He develops a strong artistic activity with the Polyphonic Choir of Lanzo, with the Polyphonic Choir of Sommariva Bosco and the Choir “DiVento Canto”, interchanging director and chorister activity with that of piano accompanist, organ and cymbal with instrumentalists, singers and choral groups. He has besides on the credit side various concerts as a soloist.