Classical

A&D Scarlatti - Concerti grossi e sinfonie (Fabio Biondi) [2002]

2015-12-30T17:30:37Z

A&D Scarlatti - Concerti grossi e sinfonie (Fabio Biondi) [2002]

Sinfonia 'Clori, Dorino e Amore' serenata for 3 voices, chorus & instruments.

01. Largo
02. Presto
03. Minuet
04. Grave

Sinfonia in C major

01. Presto
02. Andante e staccato
03. Allegrissimo

Concerti Grossi No.1 in F minor

01. Grave
02. Allegro
03. Largo
04. Allemande - Allegro

Concerti Grossi No.2 in C minor

01. Allegro
02. Grave
03. Minuetto
04. Allegro

Concerti Grossi No.3 in F major

01. Allegro
02. Largo
03. Allegro
04. Largo
05. Allegro

Concerti Grossi No.4 in G minor

01. Allegro
02. Grave
03. Vivace

Concerti Grossi No.5 in D minor

01. Allegro
02. Grave
03. Allegro
04. Minuet

Concerti Grossi No.6 in E major

01. Allegro
02. Allegro
03. Largo
04. Affertuoso

Sinfonia a 3 in G minor

01. Allegrissimo
02. Grave
03. Allegrissimo

Sinfonia in A minor

01. Allegrissimo
02. Adagio

Sonata 'Concerto IX' in A minor

01. Allegro
02. Largo
03. Fuga
04. Piano
05. Allegro

Performer:
Violin I: Fabio Biondi, Raffaello Negri, Isabella Longo, Carla Marotta, Alessandro Barres
Violin II: Lorenzo Colitto, Gabriele Folchi, Andrea Rognoni, Renata Spotti, Silvia Rindaldi
Violas: Ernseto Braucher, Robert Brown, Guide de Veechi
Cellos: Maurizio Naddeo, Antonio Fantinuoli
Violone: Patxi Montero, Giovanni Sabbioni
Recorder: Petr Zejfart
Harp: Nargret Köll
Theorbo: Giangiacomo Pinardi
Harpsichord & Organ: Sergio Ciomei

Fabio Biondi, violin & director
Europa Galante Orchestra

Most of the music on this disc is by Domenico Scarlatti’s gifted, prolific and versatile father, Alessandro. The substance of the programme is contained in Alessandro’s Sonata for treble recorder, two violins and continuo, the ninth in a set of 12 Sinfonie di concerto grosso (1725), and his set of Six Concertos in Seven Parts, which were probably first printed in London in about 1740, 15 years after his death. By and large they are conservative pieces, sometimes stiff and shortwinded in their melodic invention. But they are pleasing, all the same, with plenty of alluring inflections and expressive variety. This is especially true of the Sixth Concerto, which contains a playful fugue, bringing to mind another in the Seventh Concerto of Handel’s Op. 6, published at the same time, a richly modulating Largo and a very graceful concluding minuet. The performances disclose much of the harmonic richness of the music and are less fussy and fanciful in their ornaments than has sometimes been the case with this ensemble. The three Domenico Scarlatti sinfonias are attractive and are played with spirit, but only the fine Sinfonia prefacing Alessandro’s serenata Clori, Dorino e Amore is, I believe, entirely new to the catalogue. At the moment, the present performances of Europa Galante under the direction of violinist Fabio Biondi comfortably outshine any piecemeal rivals. ---Nicholas Anderson, classical-music.com

download (mp3 @320 kbs):

oboom yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Domenico Scarlatti - L'Ottavia Restituita al Trono (2008)

2011-03-01T09:33:29Z

Domenico Scarlatti - L'Ottavia Restituita al Trono (2008)


1. Ottavia Restituita al Trono 1
2. Ottavia Restituita al Trono 2 - 3

Nerone - Filippo Mineccia (contralto)
Ottavia - Yolanda Auyanet (soprano)
Poppea - Maria Grazia Schiavo (soprano)
Floro - Maria Ercolano (soprano)
Rosilda - Valentina Varriale (soprano)
Balisa - Giuseppe de Vittorio (tenor)
Dorillo - Paolo López (sopranist)

Cappella della pieta de Turchini
Antonnio Florio – conductor

Basilique Notre-Dame de Beaune, July 5th, 2008

Antonio Florio rediscovers "Ottavia restituita al trono" written for Naples in 1703 by an eighteen-year-old Domenico Scarlatti. So in addition to a stunning line-up of singers, the Beaune production also gives us a long-forgotten score. An outstanding Maria Grazia Schiavo, who proved her high level of musical maturity, was flanked by the superb, albeit very young, counter-tenor Filippo Mineccia. The show was warmly and enthusiastically received by the public.

The Beaune Festival is never short of novelty. Director Anne Blanchard is always on the lookout for new titles and fresh performers. With "Ottavia restituita al trono" she has hit the bull's eye. Without a Palermo festival, the opus of the Scarlatti family – certainly Alessandro, but also his son Domenico – is waiting for the reappraisal it deserves. In fact Domenico Scarlatti wrote the score for "Octavia", which Antonio has brought out into the open and in part reconstructed, producing it for Beaune with the Festival of San Sebastian and the centre for early music of Naples. It is a sort of sequel to "L'incoronazione di Poppea" or, better still, a variation of it with a finale that is to Ottavia's advantage: in Scarlatti's opera, Nero keeps his bride and renounces Poppaea. Already at the age of eighteen, Domenico Scarlatti was flaunting his knowledge of musical writing by using a broad range of affetti with which he varied the arias. Quite dramatically, the result is an opera that never slackens. Yet the real discovery (or rediscovery) were the singers. First and foremost, Maria Grazia Schiavo was beyond recognition, her voice today as intense as ever; she lived her part to the full with a sonorous timbre of full-bodied low notes and graceful high notes, giving us a sensual and highly dramatic Poppaea. Schiavo was superbly flanked by Maria Ercolano and Valentina Varriale. By contrast Yolanda Auyanet did not appear entirely at ease with her part. Then came the real novelty: the two young voices of sopranist Paolo Lopez and counter-tenor Filippo Mineccia. Florio seems to have changed idea about these voice types, for which we are grateful: Mineccia treated us with a Nero of variegated musical colour, demonstrating his agility and highly musical phrasing. A roaring success for a justifiably enthusiastic public. ---Alessandro Di Profio, giornaledellamusica.it

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

Domenico Scarlatti - Sonatas (Narciso Yepes) [1985]

2015-03-14T16:56:11Z

Domenico Scarlatti - Sonatas (Narciso Yepes) [1985]


01. Sonata K.146
02. Sonata K.34 Larghetto
03. Sonata K. 238 Andante
04. Sonata K.42 Minuetto
05. Sonata K.474 Andante e cantabile
06. Sonata K.32 Aria
07. Sonata K.322 Allegro
08. Sonata K.77 Moderato e cantabile
09. Sonata K. 283 Andante allegro
10. Sonata K.64 Gavotte
11. Sonata K.446 Pastorale
12. Sonata K.377 Allegrissimo

Narciso Yepes – guitar

Scarlatti's keyboard sonatas are often described as "guitaristic," but few recorded guitar performances back up this claim. In Yepes's performance, they sound "natural and flowing, as if they had been composed for the guitar in the first place." Those are Yepes's words, and no better support could be found than K 446, titled "Pastorale." All other performers, including Pletnev, play this work in an other-worldly fashion, but Yepes makes it glow through instrumental color and a non-draggy tempo. Other gems on this album include K 474, a worthy companion to the Valenti recording, and K 377. ---Eloi, amazon.com

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire solidfiles zalivalka cloudmailru oboom

back

Domenico Scarlatti - Te Deum, Stabat Mater, Miserere, Magnificat e Laetatus sum (2009)

2016-03-16T16:52:59Z

Domenico Scarlatti - Te Deum, Stabat Mater, Miserere, Magnificat e Laetatus sum (2009)


01. Te Deum - I. Te Deum laudamus 
02. Te Deum - Te ergo quaesumus 
03. Stabat Mater - I. Stabat mater dolorosa 
04. Stabat Mater - II. Cujus animam gementem 
05. Stabat Mater - III. Eja mater, fons amoris 
06. Stabat Mater - IV. Sancta mater, istud agas 
07. Stabat Mater - V. Fac me vere tecum flere 
08. Stabat Mater - VI. Juxta crucem tecum stare 
09. Stabat Mater - VII. Inflammatus et accensus 
10. Stabat Mater - VIII. Fac ut animae donetur 
11. Stabat Mater - IX. Amen 
12. Miserere 
13. Magnificat - I. Magnificat anima mea Dominum 
14. Magnificat - II. Fecit potentiam 
15. Magnificat - III. Gloria Patri 
16. Laetatus sum - I. Laetatus sum 
17. Laetatus sum - II. Propter fratres meos 
18. Laetatus sum - III. Gloria Patri

Choir of King's College, Cambridge 
Stephen Cleobury - conductor
+
Joseph Crouch – cello (1, 15)
Ashley Grote – organ (1, 15)
Daniel Hyde – organ (3)
Richard Butler – tenor  (9)
Nicholas Daly – treble  (9, 15)
Timothy Mead – alto (15)

Domenico Scarlatti’s Stabat mater is, and seems always to have been, among the most popular of his comparatively small number of sacred vocal pieces. He probably wrote it between the years 1708 and 1728 when he was primarily employed as a church composer in Rome and in Lisbon. His setting of the 13th-century text is in ten parts divided into four soprano strands, two alto, two tenor and two bass with continuo. The style – a blend of older techniques with more up-to-date means of expression – is curiously anonymous and fails to sustain interest throughout. But it has many attractive ideas and its craftsmanship is well sustained. Several recordings of the piece are available, some preferring one voice to a part to the more chorally inclined version favoured here by the Choir of King’s College, under its director Stephen Cleobury. The singing is bright, fervent and generally secure, though there are a few uncomfortable moments especially evident in the opening section of the work. Scarlatti’s sustained but never antiphonal aura of sound is greatly enhanced by the acoustic of King’s College chapel, which suffuses the performance with radiance. Most other versions, though overall more vocally secure, lack this vital dimension. But one, at least, deserves mention. The French Ensemble William Byrd, directed by Graham O’Reilly, preferring one voice to a part, gives a beautifully lucid performance in the comparably effective but entirely different acoustic of the Abbey of Saint-Michel-en-Thiérache. It’s well worth seeking out, and not least for its inclusion of the warmly expressive little hymn Iste confessor. --- Nicholas Anderson, classical-music.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Domenico Scarlatti - Tolomeo e Alessandro (2009)

2019-02-19T15:39:03Z

Domenico Scarlatti - Tolomeo e Alessandro (2009)


1. Acte I
2. Acte II
3. Acte III

Ann Hallenberg (Tolomeo)
Veronique Gens (Alessandro)
Klara Ek (Seleuce)
Roberta Invernizzi (Elisa)
Tuva Semmingsen (Dorisbe) 
Theodora Baka (Araspe)

Il Complesso Barocco
Alan Curtis - conductor

Samedi 17 janvier, 2009
Theatre des Champs-Elysees, Paris

Tolomeo e Alessandro, ovvero la corona disprezzata is an Italian-language opera by Domenico Scarlatti to a libretto by Carlo Sigismondo Capece which premiered in Rome on 19 January 1711 at the Palazzo Zuccari, with scenery by Filippo Juvarra. It was second of the seven operas composed by Domenico for the Polish queen Maria Casimira Sobieski, following his pastorale in three acts La Silvia of 27 January 1710. ---revolvy.com

Universally admired for his keyboard music, the vocal music of Domenico Scarlatti has until very recently been largely ignored. For many years, the opera Tolomeo e Alessandro was known only from a manuscript of Act I in a private collection in Milan. Recently the entire opera turned up in England and surprisingly revealed that Domenico was after all a very fine dramatic composer, perhaps even more appealingly so than his father Alessandro. It is tempting to think that Handel, whose Tolomeo uses the same libretto, may have known this setting by his old friend, 'Mimmo', and tried to outdo him in setting the same texts to music. He was not always successful. ---boosey.com

download (mp3 @256 kbs):

yandex mediafire ulozto cloudmail.ru bayfiles

back

Domenico Scarlatti – Best Sonatas (Scott Ross) [1988]

2009-10-25T20:56:57Z

Domenico Scarlatti – Best Sonatas (Scott Ross) [1988]


01. Sonata D minor, K.1    
02. Sonata D minor, K.9    
03. Sonata G major, K.14    
04. Sonata B minor, K.27    
05. Sonata F major, K.38    
06. Sonata G major, K.103    
07. Sonata A major, K.114    
08. Sonata D minor, K.141    
09. Sonata A major, K.208    
10. Sonata D minor, K.213    
11. Sonata F major, K.296    
12. Sonata F major, K.297    
13. Sonata D major, K.298    
14. Sonata D major, K.299    
15. Sonata E major, K.380    
16. Sonata D major, K.490    
17. Sonata D major, K.491    
18. Sonata D major, K.492    
19. Sonata F minor, K.555    

Scott Ross - harpsichord

The sonatas of Domenico Scarlatti are deceptively profound. Brief and often simply structured, they nevertheless place great demands on technique and there is no place for the musician to "hide." Comparing various musicians' interpretations of a piece is always fun, but it is especially rewarding with Scarlatti's sonatas. I just finished comparing this disc to that of Ivo Pogorelich playing some of the same pieces on a piano. (The two discs have three sonatas in common.) For the most part Ross' playing is exquisite but there were a few points where I felt the sonata didn't flow as well as it should have -- the phrase "sewing machine playing" to describe those points is much too harsh, but that's the general idea. The contrast with Pogorelich in this area was easy to notice. I'm still giving this four stars despite the few warts. This is still some of the most delightful harpsichord music I have had the pleasure to hear. With such great artistic sense, mastery of his instrument, and thorough familiarity with the musical universe of Domenico Scarlatti, it's a shame Ross was unable to avail himself of the wisdom needed to avoid a premature death (in his late thirties) from AIDS in 1989. But at least this music survives for all to enjoy. ---"cdwitmer", amazon.com

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

Domenico Scarlatti – Salve Regina (2010)

2010-11-29T16:36:18Z

Domenico Scarlatti – Salve Regina (2010)


1. Aria Narciso Vorrebbe La Speranza 	Orquesta Barroca De Sevilla 	2:08 
2. Aria Narciso Si, Si Tu Ben Lo Sai 	Orquesta Barroca De Sevilla 	2:55
3. Avision, Concerto V Re Menor Largo 	Nicolau de Figueiredo 	2:44
4. Avision, Concerto V Re Menor Allegro 	Nicolau de Figueiredo 	1:58 
5. Avision, Concerto V Re Menor Andante Moderato 	Nicolau de Figueiredo 	1:41
6. Avision, Concerto V Re Menor Allegro 	Nicolau de Figueiredo 	2:38 
7. Salve Regina 	Orquesta Barroca De Sevilla 	2:25                                 play
8. Salve Regina Ad Te Clamamos 	Orquesta Barroca De Sevilla 	2:39 
9. Salve Regina Eja Ergo 	Orquesta Barroca De Sevilla 	1:27 
10. Salve Regina Nobis Post Hoc 	Orquesta Barroca De Sevilla 	2:34 
11. Salve Regina O Clemens-Amen 	Orquesta Barroca De Sevilla 	3:27 
12. D. Scarlatti Sinfonia C Major Presto 	Nicolau de Figueiredo 	0:42 	
13. D. Scarlatti Sinfonia C Major Andante e Staccato 	Nicolau de Figueiredo 	0:54 
14. D. Scarlatti Sinfonia C Major Allegrissimo 	Nicolau de Figueiredo 	1:33 
15. D. Scarlatti Cantata Doppo Lungo Servire 	Orquesta Barroca De Sevilla 	0:41 
16. D. Scarlatti Cantata Luci Umicide 	Orquesta Barroca De Sevilla 	2:54 
17. D. Scarlatti Cantata Cosi Dal Duolo Opresso 	Orquesta Barroca De Sevilla 	0:24 
18. D. Scarlatti Cantata Lo Lo So Che Una Pena Tiranna 	Orquesta Barroca De Sevilla 	4:13 
19. D. Scarlatti Cantata Ma Pur Non Dispersar 	Orquesta Barroca De Sevilla 	1:03 
20. D. Scarlatti Cantata Cara Se Vuoi Che Io Sprei 	Orquesta Barroca De Sevilla 	5:04 
21. Charles Avision Concerto X Gratioso 	Nicolau de Figueiredo 	1:09 	     play
22. Charles Avision Concerto X Allegro 	Nicolau de Figueiredo 	2:01
23. Charles Avision Concerto X Adagio 	Nicolau de Figueiredo 	0:46 
24. Charles Avision Concerto X Giga 	Nicolau de Figueiredo 	2:40 
25. Sonata K 10 	Nicolau de Figueiredo 	2:54 
26. Sonata K 41 	Nicolau de Figueiredo 	4:02 
27. Sonata K 5 	Nicolau de Figueiredo 	3:19 
28. Sonata K 9 	Nicolau de Figueiredo 	3:40 
29. Sonata K 11 	Nicolau de Figueiredo 	2:16

Carlos Mena, countertenor

Orquesta Barroca de Sevilla
dir. Nicolau de Figueiredo

Giuseppe Domenico Scarlatti (Naples, 26 October 1685 – Madrid, 23 July 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified as a Baroque composer chronologically, although his music was influential in the development of the Classical style. Like his renowned father Alessandro Scarlatti he composed in a variety of musical forms although today he is known almost exclusively for his 555 keyboard sonatas.

Domenico Scarlatti is best known for his huge number (at least 550) of solo harpsichord sonatas. Several recorded editions of that wonderful body of music exist; and they feature regularly in anthologies, as "fillers" and encores at recitals. But Scarlatti's choral works are far less well-known. There is a significant number of them: 15 operas; dozens of arias, duets, cantatas; oratorios and other sacred works. True, we usually think of Domenico Scarlatti's father, Alessandro, when we think of choral music. But Domenico's output is significant and worthy of close attention.

Domenico Scarlatti was a Neapolitan; trained (possibly by Alessandro) and immersed in the rich choral traditions of that city, he inherited a love of the mellifluous; after all, opera seria originated in Naples. Early musical experiences included those of the Papal court at Rome; a spell in Florence; as protegé to members of exiled aristocracies (the bulk of Scarlatti's life was spent in the service of the Spanish court – in Spain); and in the opera houses, churches and salons amongst such established luminary composers as Corelli, Handel and Scarlatti's father, Alessandro. From the end of 1713 until his departure for Portugal in 1719, Domenico was maestro di cappella at the Basilica Giulia and, although it's tempting (because convenient) to assign the composer's sacred choral music all to these six years, there's no evidence for doing so… not least because we know he continued his work in the area on arrival in Madrid. Tentative dating has nevertheless been attempted by the producers of this disk; it helps in setting what are very different musical styles.

The longest and most substantial of the four choral pieces presented here, the Stabat Mater, does seem highly likely, however, to date from Scarlatti's Basilica Giulia period. Chiefly because of the unusual scoring. Rather than calling for a choir of ten voices, the score plainly requires ten distinct soloists who work together to create the most remarkable shifting sets of changing and contrasting sonorities, textures and effects. This highly personal and somewhat exposed feel is particularly appropriate to the taut emotional strength of the Stabat Mater. These singers and players are completely in accord with this and offer a thoughtful, suitably harrowing interpretation. To say it is full of atmosphere is nevertheless not to say it either cloys or tries to hide the simple and searing import and tone of the music with effect. The small instrumental complement adds to the sense of cradling, tenderness and humility which the words of several of the movements to emphasize. Those which are more upbeat and extrovert, almost, such as the "Inflammatus" [tr.16] are like flashes of sunlight through a still gray sky… the clouds are not absent, just in remission.

It seems likely that the Te Deum may have been written while Scarlatti was in Portugal. It was certainly performed in Lisbon at the end of 1721 according to newspaper reports. Here there is a double choir and there are polyphonic, responsorial effects between them while the continuo has a supporting role. Again the instrumentalists actually add immeasurably to the tone and texture of the Te Deumspecifically by a consistently subdued and rolling musical line. It's a short piece at six and a half minutes. This adds to its happy confluence of simplicity and tightness.

Written for only soprano, alto and continuo the Salve Regina is sparer and more concentrated. If a date were hazarded, it would surely be for Scarlatti's earliest period, in Naples. It's a reflective, almost "moody" piece; less dark than downbeat, more consciously detached that laden with imprecations. Yet it verges on the lugubrious, though the singers are on top and energized all the time. As with the other three pieces, the members of Vox Luminis are expert not only at the meaning-packed articulation of the text and melody, but at conveying the grander architecture of Scarlatti's intentions. Their consistent treatment of tempi has something to do with this achievement. As do

Domenico Giuseppe Scarlatti (ur. 26 października 1685 – zm. 23 lipca 1757) – kompozytor włoski okresu baroku. Syn i uczeń Alessandro Pietro Scarlattiego, urodzony w Neapolu, nadworny klawesynista polskiej królowej Marii Kazimiery, króla Portugalii oraz dworu królewskiego w Madrycie. W latach 1710–1713 Aleksander Benedykt Sobieski zrealizował w swoim rzymskim teatrze kilka spektakli operowych we współpracy ze Scarlattim i scenografem Filippo Juvarra.

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

Domenico Scarlatti – Sonatas (Pogorelich) [1992]

2010-07-15T16:08:45Z

Domenico Scarlatti – Sonatas (Pogorelich) [1992]


K. 20 in E major
K. 135 in E major
K. 9 in D minor
K. 119 in D major
K. 1 in D minor
K. 87 in B minor
K. 98 in E minor
K. 13 in G major
K. 8 in G minor
K. 11 in C minor
K. 450 in G minor
K. 159 in C major
K. 487 in C major
K. 529 in B flat major
K. 380 in E major

Ivo Pogorelich – piano

An attractively played collection, with stunning articulation for the ornaments and plenty of sparkling fingerwork to bring Scarlatti's vivid personality to life.

Although this anthology is weighted towards more familiar sonatas, the programming is sufficiently intelligent and varied for one to sample a fairly comprehensive range of the composer's keyboard style. Five of the sonatas, at least, featured in Horowitz's repertoire, and consequently one is rather tempted to compare the two pianists. Pogorelich really does not come off too badly.

The CD opens with the E major Sonata that was popularized as the second item in Tausig's Pastorale e capriccio (in which the Pastorale was transcribed into E minor). I don't think Pogorelich is quite fast enough for-the presto marking here and some rests in the-opening passages strike me as being fractionally too long. The Pastorale turns up as the third sonata, and in it I thought that some of the loud notes were slightly too insistent; I would recommend the listener to keep the volume control low throughout the CD. Overall, however, this is an attractively played collection, with stunning articulation for the ornaments and plenty of sparkling fingerwork to bring Scarlatti's vivid personality to life. Listen to the D major, Kk119 for a lovely mezzo piano singing tone juxtaposed with bubblingly alive fast passages—then again, the autumnal pathos of the B minor, Kk87 is equally affecting.

Perhaps one could have wished for greater humour and more exploitation of the passages that lend themselves to climaxes, but one respects that Pogorelich has his own way of doing things, and this is without a doubt both musicianly and intelligent. For me, the penultimate sonata of the anthology, a less than familiar one in B flat, Kk529, with its playful leaps and general lightheartedness, demonstrates Pogorelich's style at its best: a unique combination of sophistication and innocence. I didn't care so much for the interpretation of the famous E major, Kk380 that concludes the release—the tempo changes are not wholly convincing to my way of thinking. But this is a fine CD that can be warmly recommended.---Joan Chissell, Gramophone [1/1993], arkivmusic.com

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

Domenico Scarlatti – Tetide in Sciro (2001)

2011-01-04T19:22:05Z

Domenico Scarlatti – Tetide in Sciro (2001)

CD1
1. Tetide In Sciro – Sinfonia              play
2. Atto I – Vi Lancio
3. Per Credere
4. Vorebbe Dal Tuor Cor
5. Sapre Ben Il Petto Opperre
6. A Che D’inutil Ferro
7. L’uccidero, Io Svenero
8. Impara
9. Se Non Vedo
10. Si, Si Piu Che Non Vuoi
11. Atto II – Sento L’aura Scherza Tra La Fronde     play
12. Deidamia Molto Osserva
13. Atterato, Fulminato
14. Amando E Tacendo
15. Deidamia, Com Sola
16. Io Creda Che Fosse Pena

CD2
1. Non e Il Ciel
2. Madre Se Quest’amore
3. Lascia Mi Piangere
4. Atto III – E’lontano Il Mio Tormento
5. Achille Dell’attica Tromba
6. Se Vuoi D’alloro
7. Quando In Notte                     play
8. Filarte Ascolta
9. Cosi Orgogliosa
10. Lancio Te Ma Non Lancio
11. Quanto Troia Vinta Cada
12. Deh! Ferma
13. Son Tuo Figlio E Sono Amante       play
14. Misera Genitrice
15. O Numi Tiranni
16. Antiope, Ben Presago
17. Che Vedo I Guisti Numi
18. Crudel Che Piu Tardi
19. Che Tirana
20. Cassino I Vostri Gemiti
21. Licomede, Tu Vedi Viva Deidamia
22. Quando Amor Chiama A Godere

Tetide - Marzanna Rudnicka
Antiope - Marta Boberska
Deidamia - Dorota Lachowicz
Achille - Wolciech Parchem
Ulisse - Jaroslaw Brek
Licomede - Andrzej Klimczak

Musicae Antiquae Collegium Varsoviense
Lilianna Stawarz, 2001

First world recording of the opera which has survived in its entirety and original shape, written in Rome (1712) for polish queen Maria Casimira.

Domenico Scarlatti was an exact contemporary of JS Bach and Handel but, while his keyboard music has received a good deal of attention, his vocal works have been comparatively neglected. Certainly his only opera seria, Tetide in Sciro, of which this is to the best of my knowledge the only recording ever made, is no match for Handel at his best, but I was pleased to make its acquaintance. ---musicweb-international.com

Pierwsze w historii fonografii nagranie jedynej opery, która przetrwała do naszych czasów, napisanej w Rzymie (1712) dla królowej Marii Kazimiery; wystawieniem której Warszawska Opera Kameralna uświetniła obchody 400 lat opery na świecie.

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

Domenico Scarlatti: Stabat Mater - Missa Quatuor Vocum (1999)

2010-03-31T21:18:11Z

Domenico Scarlatti: Stabat Mater - Missa Quatuor Vocum (1999)

Stabat Mater
1. Cujus animam gementem 		4:55  	  	 
2. Quis non posset 		2:21
3. Eja Mater, fons amoris 		2:16  
4. Sancta mater, istud agas 		1:50  
5. Fac me vere tecum flere 		0:50  	  
6. Juxta crucem 		1:55
7. Inflammatus 		3:06  	  
8. Fac ut animae 		2:15
9. Amen 		1:32  

Missa quatuor vocum
10. Kyrie 		6:21  	  	
11. Gloria 		7:40  	
12. Credo 		8:39  	 
13. Sanctus 		1:43  
14. Benedictus 		1:43  	  
15. Agnus dei 		3:19  	  	

Concerto Italiano:
Elena Cecchi, Elisa Franzetti, Elisabetta Tiso, Rosa Dominguez (sopranos)
Alessandro Carmignani, Fabian Schofrin (altos)
Paolo Fanciullacci, Gianluca Ferrarini (tenors)
Roberto Abbondanza, Sergio Foresti (basses)
Andrea Damiani (archlute)
Tiziano Bagnati (theorbo) 
Andrea Perugi (organ)
Rinaldo Alessandrini - conductor

I have often read that Domenico Scarlatti, normally associated with keyboard sonatas, was an exceptionally fine composer of church music. This was especially in his younger years before embarking for Iberia. Consequently I purchased a recording of his Stabat Mater performed by the choir of Christchurch Cathedral Oxford (Hyperion CDA66182). Sadly I did not find the work to be especially arresting and hardly played it. I was therefore surprised and ‘bowled over’ as soon as I started to listen to track 1 of this re-issue of the Stabat Mater. The beauty, pain and intensity were immediately conveyed and I was instantly hooked. But why?

The Oxford performance is accompanied by organ but more importantly, although the singing is committed and excellent, the recording is unfocused and distant. Most importantly the choir sing the wondrous opening and indeed some of the movements, especially the first, as if it’s a ‘wash-day’ evensong and the Dean needs to get back early for his tea. It all seems so uninvolving, unemotional and - sorry to say - so very British. Nevertheless I was somewhat surprised that the Oxford performance takes, in the end, four minutes longer than Concerto Italiano, who are anyway, everything that Oxford is not. The work was written, it is generally assumed, for just ten singers. Here we have just ten singers. They are accompanied by archlute, theorbo and organ and they sing with fervour and total conviction. The tempi are slower and every word passionately expressed. The recording aids the work by being close as if in a private space. The madrigalian quality of the counterpoint is allowed its head. Juicy harmonies in the opening movement, in the mystic ‘Quando corpus’ and in the ‘Sancta Mater’, are particularly memorable.

The dating of the work is rather a puzzle. There is a Stabat Mater by his father Alessandro which can fairly easily be dated 1708-17. It is scored for vocal duet, violin, cello and continuo. There is also an especially well known example written by Pergolesi in the last year of his life: 1736. Domenico’s ten part version seems to challenge both of the others but also sets itself back into the early baroque and even into the renaissance. The text, which may be by Jacopone da Todi (d. 1306), is a twenty strophe poem written from the point view of Mary at the foot of the cross. The women’s voices of Alessandro and of Pergolesi are entirely appropriate. Domenico divides the text into ten sections, the last being a short but extraordinarily polyphonic A-men. Incidentally his father’s, much longer setting, is divided into eighteen sections. Variety is achieved through tempo and by differing vocal combinations. For example the first movement is tutti, the second ‘cujus animam gementem’ is slightly faster. The third begins homophonically to make a contrast with the intense polyphony of the first movements - I found myself thinking of Monteverdi madrigals. The fourth ‘Eja Mater’ begins in a higher register and is faster again. Not always are all ten parts employed. I could go on but I’m sure that you get the idea.

The Four-part Mass begins solemnly and is given the same instrumental support. Generally its mood, in this reflective performance, even in the Gloria is more contemplative than overtly joyous. Again, everything is so very sensitive, thoughtful and beautifully done. Tempi are contrasted within the longer movements dependent on text, for instance for the ‘Et Incarnatus’ of the Credo. The three-fold Agnus dei has simple polyphony with luscious suspensions and ends the work with a noble expression of grief and faith combined.

Roberto Pagano tells us clearly in the booklet notes that dating the Mass, like the Stabat Mater, is difficult which is why I have not put dates at the head of the review. The mass may have been written for the Spanish royal court but it was certainly copied there in 1754. Yet it may be quite an early work.

This disc was originally released to acclaim in 1999 and has recently been re-issued at mid-price. It is in direct competition not only with the Oxford recording mentioned above, but also with two more recent recordings. I have heard extracts from both: on Ricercar (RIC 258) with the ensemble Vox Luminis, the Stabat Mater coupled with the Missa Brevis and some motets and on Naxos (8.570382) with the Immortal Bach Ensemble coupled with the Salve Regina and the less arresting Te Deum. Both discs are beautifully and passionately performed and the recordings are not so ‘in your face’ as this Naïve coupling. Nevertheless, I like the ‘sound’ of Concerto Italiano. I like their voices and commitment and will put them happily on my shelf. I might well put Lux Luminis there as well if there’s room and indeed keep the Oxford performance. There is always room for new interpretations of great music. And, oh yes, the Stabat Mater of Domenico Scarlatti may not be as well known as Pergolesi but I do believe it to be a masterwork. ---Gary Higginson, musicweb-international.com

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back