Weser-Renaissance Bremen, Manfred Cordes - Leopold I. : Il Sagrifizio d'Abramo - Miserere (2020)
BAND/ARTIST: Weser-Renaissance Bremen, Manfred Cordes
- Title: Leopold I. : Il Sagrifizio d'Abramo - Miserere
- Year Of Release: 2020
- Label: CPO
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 01:16:00
- Total Size: 345 mb
- WebSite: Album Preview
Tracklist
01. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 1 Sonata
02. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 2 Abramo i lumi inalza (Ubidienza, Abramo, Humanità)
03. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 3 Abram se tu non vai (Humanità, Abramo, Ubidienza, 2 Servi, Isac)
04. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 4 A te pur data sia (Abramo, Ubidienza, Isac)
05. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 5 Con faccia impavida (Abramo, Isac)
06. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 6 Qui già non pende sotto dubio (Abramo, Isac, Humanità, Ubidienza)
07. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 7 Figlio dispon la tenera cervice (Abramo, Angelo, Isac)
08. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 8 Sonatina
09. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 9 Ai colli sanguinosi (Penitenza)
10. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 10 Al pianto, su, su (Coro di Peccatori)
11. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 11 Flagelli sonanti (Peccator primo)
12. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 12 Mio Dio ne l'ira tua (Peccator secondo)
13. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 13 Io rigaro la stanza (Peccator terzo)
14. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 14 Sparse le chiome vane (Peccator quarto, Choro di Peccatori)
15. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 15 Si, si piangete (Penitenza)
16. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 16 Al comun Dio pietoso (Madrigale)
17. Miserere (Leopold I.): I. Miserere mei, Deus (Arie et Coro)
18. Miserere (Leopold I.): II. Ecce enim in iniquitatibus conceptus sum (Recitativo, Arie & Coro)
19. Miserere (Leopold I.): III. Cor mundum crea in me, Deus (Arie & Coro)
20. Miserere (Leopold I.): IV. domine, labia mea aperies (Recitativo, Arie & Coro)
Leopold I assigned music a central place in the cultural life of his times. He encouraged the production of music at his Vienna court and composed over 150 arias in Italian, some German-language oratorios and musical comedies, and many sacred works. His oratorio Il Sagrificio dAbramo occupies a special place among Viennese Passion compositions because the figure of Isaac is described as a prefiguration of Christ. Since the librettist, Conte Caldana, places the sacrifice scene in the foreground in the first part of his text, an entirely new level of meaning is created. As a result, Ubidienza (Obedience) and Humanità (Humanity) become Abrahams partners in dialogue from the very beginning. Although Leopold was only twenty years old at the time, he was already a composer of true mastery who was also able in his music to capture in tones the hopelessness of the situation and in part to venture beyond the actual limits of tonality as observed and understood by his contemporaries. Leopolds Miserere is appealing above all because of its unusual instrumentation consisting exclusively of stringed instruments.
01. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 1 Sonata
02. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 2 Abramo i lumi inalza (Ubidienza, Abramo, Humanità)
03. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 3 Abram se tu non vai (Humanità, Abramo, Ubidienza, 2 Servi, Isac)
04. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 4 A te pur data sia (Abramo, Ubidienza, Isac)
05. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 5 Con faccia impavida (Abramo, Isac)
06. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 6 Qui già non pende sotto dubio (Abramo, Isac, Humanità, Ubidienza)
07. Il Sagrifizio d'Abramo (Prima Parte) (Leopold I.): No. 7 Figlio dispon la tenera cervice (Abramo, Angelo, Isac)
08. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 8 Sonatina
09. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 9 Ai colli sanguinosi (Penitenza)
10. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 10 Al pianto, su, su (Coro di Peccatori)
11. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 11 Flagelli sonanti (Peccator primo)
12. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 12 Mio Dio ne l'ira tua (Peccator secondo)
13. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 13 Io rigaro la stanza (Peccator terzo)
14. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 14 Sparse le chiome vane (Peccator quarto, Choro di Peccatori)
15. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 15 Si, si piangete (Penitenza)
16. Il Sagrifizio d'Abramo (Seconda Parte) (Leopold I.): No. 16 Al comun Dio pietoso (Madrigale)
17. Miserere (Leopold I.): I. Miserere mei, Deus (Arie et Coro)
18. Miserere (Leopold I.): II. Ecce enim in iniquitatibus conceptus sum (Recitativo, Arie & Coro)
19. Miserere (Leopold I.): III. Cor mundum crea in me, Deus (Arie & Coro)
20. Miserere (Leopold I.): IV. domine, labia mea aperies (Recitativo, Arie & Coro)
Leopold I assigned music a central place in the cultural life of his times. He encouraged the production of music at his Vienna court and composed over 150 arias in Italian, some German-language oratorios and musical comedies, and many sacred works. His oratorio Il Sagrificio dAbramo occupies a special place among Viennese Passion compositions because the figure of Isaac is described as a prefiguration of Christ. Since the librettist, Conte Caldana, places the sacrifice scene in the foreground in the first part of his text, an entirely new level of meaning is created. As a result, Ubidienza (Obedience) and Humanità (Humanity) become Abrahams partners in dialogue from the very beginning. Although Leopold was only twenty years old at the time, he was already a composer of true mastery who was also able in his music to capture in tones the hopelessness of the situation and in part to venture beyond the actual limits of tonality as observed and understood by his contemporaries. Leopolds Miserere is appealing above all because of its unusual instrumentation consisting exclusively of stringed instruments.
Year 2020 | Classical | FLAC / APE
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