Wrocław Baroque Ensemble & Andrzej Kosendiak - Szarzyński & Others: Works (2019) [Hi-Res]
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BAND/ARTIST: Wrocław Baroque Ensemble, Andrzej Kosendiak
- Title: Szarzyński & Others: Works
- Year Of Release: 2019
- Label: CD Accord
- Genre: Classical
- Quality: flac 24bits - 96.0kHz
- Total Time: 01:35:05
- Total Size: 1838 mb
- WebSite: Album Preview
Tracklist
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01. Completorium: I. Cum invocarem
02. Completorium: II. In te Domine speravi
03. Completorium: III. Qui habitat
04. Completorium: IV. Ecce nunc benedicite Dominum
05. Completorium: V. Te lucis ante terminum
06. Completorium: VI. Nunc dimittis
07. Completorium: VII. Ave Regina
08. Pariendo non gravaris
09. Veni Sancte Spiritus
10. Quam felix curia
11. Jesu spes mea
12. Ad hymnos ad cantus
01. Trio Sonata in D Major
02. Litania cursoria
03. Praeludium primi toni
04. Missa septem dolorum Beatae Mariae Virginis: I. Introitus
05. Missa septem dolorum Beatae Mariae Virginis: II. Kyrie
06. Missa septem dolorum Beatae Mariae Virginis: III. Gloria in excelsis Deo (Excerpt)
07. Missa septem dolorum Beatae Mariae Virginis: IV. Gratias agimus tibi
08. Praeludium (1)
09. Missa septem dolorum Beatae Mariae Virginis: V. Quoniam tu solus sanctus
10. Preambulum (2)
11. Missa septem dolorum Beatae Mariae Virginis: VI. Offertorium
12. Missa septem dolorum Beatae Mariae Virginis: VII. Sanctus
13. Missa septem dolorum Beatae Mariae Virginis: VIII. Benedictus
14. Missa septem dolorum Beatae Mariae Virginis: IX. Agnus Dei
15. Missa septem dolorum Beatae Mariae Virginis: X. Communio
16. Missa septem dolorum Beatae Mariae Virginis: XI. Planctus de Beata Maria Virgine
17. Gloria in excelsis Deo
Stanisław Sylwester Szarzyński’s surviving output of music comprises ten compositions, whose excellent quality and attractive sound earn him a place among the most distinguished Polish Baroque composers.(...)
We do not have any archive documents concerning the figure of Szarzyński or any autographs of his works. He most probably lived during the last decades of the 17th century, though the dates of his birth and death as well as the place or places of his activity are impossible to establish.(...)
Nearly all of Stanisław Sylwester Szarzyński’s surviving works represent the seconda pratica and are structured in accordance with the concertato style typical of the second half of the 17th century. The single (but significant) exception is the Missa septem dolorum Beatae Mariae Virginis, never previously published or recorded. (...)
Szarzyński’s solo church concertos are scored typically of the era, with two violins and continuo in the accompaniment. However, the concertos are diversified with regard to form. One of those most internally varied is the soprano concerto Veni Sancte Spiritus, setting the text of the Pentecostal sequence. (...)
The tenor concerto Pariendo non gravaris and the alto concerto Quam felix curia, on the other hand, represent regular four-movement forms which consist of alternating slow and fast sections. Here Szarzyński experiments with ‘new’ keys that go far beyond the traditional system of church modes. The former of these concertos is written in the key of C sharp minor, the latter – in B flat minor. (...)
Another solo church concerto, Ave Regina, previously published separately, in the Łowicz manuscript constituted the last part of Szarzyński’s Completorium. This cycle is a musical setting of four psalms, the hymn Te lucis ante terminum and the canticle Nunc dimittis, followed – in accordance with liturgical requirements – by a Marian antiphon. The entire cycle is scored for four voices, two violins and basso continuo. (...)
The setting of the Litany of Loreto is an extensive one-movement work, which in the Łowicz copy was entitled Litania cursoria – a Polish-Latin hybrid, possibly referring to the cursus marianus, the so-called little office in praise of the Mother of God. (...) Ad hymnos ad cantus is a compact composition for five vocal parts with instrumental accompaniment, written in the form of a ritornello concerto (also called a rondo concerto). The said ritornello, performed tutti and characterised by a homorhythmic texture, is performed twice in its full version, while its closing measures also serve as a recurring ‘refrain’ in the mosaic-like segment “Agite ergo”.(...) Szarzyński’s only instrumental work, Sonata for two violins and basso pro organo, is at the same time the only surviving relic of Polish instrumental music from the second half of the 17th century. (Marcin Szelest)
Aldona Bartnik, soprano
Alexander Schneider, alto
Maciej Gocman, tenor
Radosław Kamieniarz, violin
Klaudia Matlak, violin
Julia Karpeta, viola da gamba
Krzysztof Karpeta, violone
Marta Niedźwiecka, positive organ
Benjamin Glaubitz, tenor
Aleksandra Turalska, soprano
Ferdinand Hendrich, sackbut/trombone
Hans-Martin Schlegel, sackbut/trombone
Masafumi Sakamoto, sackbut/trombone
Andrzej Kosendiak, conductor
---------
01. Completorium: I. Cum invocarem
02. Completorium: II. In te Domine speravi
03. Completorium: III. Qui habitat
04. Completorium: IV. Ecce nunc benedicite Dominum
05. Completorium: V. Te lucis ante terminum
06. Completorium: VI. Nunc dimittis
07. Completorium: VII. Ave Regina
08. Pariendo non gravaris
09. Veni Sancte Spiritus
10. Quam felix curia
11. Jesu spes mea
12. Ad hymnos ad cantus
01. Trio Sonata in D Major
02. Litania cursoria
03. Praeludium primi toni
04. Missa septem dolorum Beatae Mariae Virginis: I. Introitus
05. Missa septem dolorum Beatae Mariae Virginis: II. Kyrie
06. Missa septem dolorum Beatae Mariae Virginis: III. Gloria in excelsis Deo (Excerpt)
07. Missa septem dolorum Beatae Mariae Virginis: IV. Gratias agimus tibi
08. Praeludium (1)
09. Missa septem dolorum Beatae Mariae Virginis: V. Quoniam tu solus sanctus
10. Preambulum (2)
11. Missa septem dolorum Beatae Mariae Virginis: VI. Offertorium
12. Missa septem dolorum Beatae Mariae Virginis: VII. Sanctus
13. Missa septem dolorum Beatae Mariae Virginis: VIII. Benedictus
14. Missa septem dolorum Beatae Mariae Virginis: IX. Agnus Dei
15. Missa septem dolorum Beatae Mariae Virginis: X. Communio
16. Missa septem dolorum Beatae Mariae Virginis: XI. Planctus de Beata Maria Virgine
17. Gloria in excelsis Deo
Stanisław Sylwester Szarzyński’s surviving output of music comprises ten compositions, whose excellent quality and attractive sound earn him a place among the most distinguished Polish Baroque composers.(...)
We do not have any archive documents concerning the figure of Szarzyński or any autographs of his works. He most probably lived during the last decades of the 17th century, though the dates of his birth and death as well as the place or places of his activity are impossible to establish.(...)
Nearly all of Stanisław Sylwester Szarzyński’s surviving works represent the seconda pratica and are structured in accordance with the concertato style typical of the second half of the 17th century. The single (but significant) exception is the Missa septem dolorum Beatae Mariae Virginis, never previously published or recorded. (...)
Szarzyński’s solo church concertos are scored typically of the era, with two violins and continuo in the accompaniment. However, the concertos are diversified with regard to form. One of those most internally varied is the soprano concerto Veni Sancte Spiritus, setting the text of the Pentecostal sequence. (...)
The tenor concerto Pariendo non gravaris and the alto concerto Quam felix curia, on the other hand, represent regular four-movement forms which consist of alternating slow and fast sections. Here Szarzyński experiments with ‘new’ keys that go far beyond the traditional system of church modes. The former of these concertos is written in the key of C sharp minor, the latter – in B flat minor. (...)
Another solo church concerto, Ave Regina, previously published separately, in the Łowicz manuscript constituted the last part of Szarzyński’s Completorium. This cycle is a musical setting of four psalms, the hymn Te lucis ante terminum and the canticle Nunc dimittis, followed – in accordance with liturgical requirements – by a Marian antiphon. The entire cycle is scored for four voices, two violins and basso continuo. (...)
The setting of the Litany of Loreto is an extensive one-movement work, which in the Łowicz copy was entitled Litania cursoria – a Polish-Latin hybrid, possibly referring to the cursus marianus, the so-called little office in praise of the Mother of God. (...) Ad hymnos ad cantus is a compact composition for five vocal parts with instrumental accompaniment, written in the form of a ritornello concerto (also called a rondo concerto). The said ritornello, performed tutti and characterised by a homorhythmic texture, is performed twice in its full version, while its closing measures also serve as a recurring ‘refrain’ in the mosaic-like segment “Agite ergo”.(...) Szarzyński’s only instrumental work, Sonata for two violins and basso pro organo, is at the same time the only surviving relic of Polish instrumental music from the second half of the 17th century. (Marcin Szelest)
Aldona Bartnik, soprano
Alexander Schneider, alto
Maciej Gocman, tenor
Radosław Kamieniarz, violin
Klaudia Matlak, violin
Julia Karpeta, viola da gamba
Krzysztof Karpeta, violone
Marta Niedźwiecka, positive organ
Benjamin Glaubitz, tenor
Aleksandra Turalska, soprano
Ferdinand Hendrich, sackbut/trombone
Hans-Martin Schlegel, sackbut/trombone
Masafumi Sakamoto, sackbut/trombone
Andrzej Kosendiak, conductor
Year 2019 | Classical | FLAC / APE | HD & Vinyl
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