Ensemble San Felice, Federico Bardazzi, La Pifarescha - Monteverdi: Vespro della Beata Vergine (2016)
BAND/ARTIST: Ensemble San Felice, Federico Bardazzi, La Pifarescha
- Title: Monteverdi: Vespro della Beata Vergine
- Year Of Release: 2016
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:29:59
- Total Size: 389 mb
- WebSite: Album Preview
Tracklist
01. Vespro della beata vergine, SV 206, in principio horarum: I. Deus, in adjutorium meum intende, II. Domine ad adjuvandum
02. Vespro della beata vergine, SV 206: III. Antiphona laeva ejus (IV A*)
03. Vespro della beata vergine, SV 206: III. Psalmus 109 (110) dixit dominus
04. Vespro della beata vergine, SV 206: III. Antiphona laeva ejus (IV A*), i collecta ante luciferum genite
05. Vespro della beata vergine, SV 206: IV. Concerto nigra sum
06. Vespro della beata vergine, SV 206: V. Antiphona jam hiems transiit (VIII G)
07. Vespro della beata vergine, SV 206: V. Psalmus 112 (113) laudate pueri
08. Vespro della beata vergine, SV 206: V. Antiphona jam hiems transiit (VIII G) il collecta laudantes benedictum nomen tuum domine
09. Vespro della beata vergine, SV 206: VI. Concerto pulchra es
10. Vespro della beata vergine, SV 206: VII. Antiphona hortus conclusus est (II)
11. Vespro della beata vergine, SV 206: VII. Psalmus 121 (122) laetatus sum
12. Vespro della beata vergine, SV 206: VII. Antiphona hortus conclusus est (II) III collecta ambulantibus in atriis domus tuae omnipotens deus
13. Vespro della beata vergine, SV 206: VIII. Concerto duo seraphim
14. Vespro della beata vergine, SV 206: IX. Antiphona quo abiit dilectus tuus (VI F)
15. Vespro della beata vergine, SV 206: IX. Psalmus 126 (127) nisi dominus
16. Vespro della beata vergine, SV 206: IX. Antiphona quo abiit dilectus tuus (VI F) IV ccollecta domorum spiritalium aedificator deus
17. Vespro della beata vergine, SV 206: X. Concerto audi coelom
18. Vespro della beata vergine, SV 206: XI. Antiphona favus distillans (III)
19. Vespro della beata vergine, SV 206: XI. Psalmus 147 lauda Jerusalem
20. Vespro della beata vergine, SV 206: XI. Antiphona favus distillans (III) V collecta conforta domine portas ecclesiae tuae
21. Vespro della beata vergine, SV 206: XI. Capitulum ab initio et ante saecula creata sum
22. Vespro della beata vergine, SV 206: XII. Sonata on Sancta Maria, ora pro nobis
23. Vespro della beata vergine, SV 206: XIII. Hymnus ave maris stella
24. Vespro della beata vergine, SV 206: XIII. Versiculum (Tonus solemnis), V. Diffusa est gratia in labiis tuis, R. Propterea benedixi te eus in aeternum
25. Vespro della beata vergine, SV 206: XIV. Antiphona ad magnificat virgo prudentissima (I F)
26. Vespro della beata vergine, SV 206: XIV. Magnificat
27. Vespro della beata vergine, SV 206: XIV. Et exultavit
28. Vespro della beata vergine, SV 206: XIV. Quia respexit
29. Vespro della beata vergine, SV 206: XIV. Quia fecit
30. Vespro della beata vergine, SV 206: XIV. Et Misericordia
31. Vespro della beata vergine, SV 206: XIV. Fecit potentiam
32. Vespro della beata vergine, SV 206: XIV. Deposuit potentes
33. Vespro della beata vergine, SV 206: XIV. Esurientes
34. Vespro della beata vergine, SV 206: XIV. Suscepit Israel
35. Vespro della beata vergine, SV 206: XIV. Sicut locutus
36. Vespro della beata vergine, SV 206: XIV. Gloria Patri
37. Vespro della beata vergine, SV 206: XIV. Sicut erat
38. Vespro della beata vergine, SV 206: XIV. Antiphona ad magnificat virgo prudentissima (I F) [2]
39. In fine horarum: Supplicatio litaniae, kyrie eleison, Pater noster Totum Secretum (All, in silence)
40. Oratio concede nos famulos tuos
41. Benedicamus domino
42. Antiphona finalis salve regina
An enduring masterpiece of early Baroque sacred music, Monteverdi’s Vespro della Beata Vergine (known in English as ‘Vespers’) was the most ambitious religious or vocal work to be written before the time of J.S. Bach, calling for a large chorus, soloists and orchestra and employing an innovative array of musical forms. Contrasting the contemplative cantus firmus underpinning the entire work (Dixit Dominus, Laetatus Sum) with moments of dazzling theatricality (Nisi Dominus, Deus in Adiutorium), Monteverdi looks to the future of dramatic music whilst staying true to the work’s Gregorian bloodline.
Under the guidance of director Federico Bardazzi, Ensemble Felice bring their scrupulous scholarship to the many interpretative decisions to be made, as the order of movements and much of the orchestration is left to the performers’ discretion. Grounded in research into the historical context and practices surrounding the work, Bardazzi has chosen to structure it by placing motets between the prescribed sequence of psalms. The quietude of the motets provides a wonderful contrast to these often grandiose choral movements, and the placing of the Sicut erat towards the end makes a fitting climax to the entire work. Ensemble Felice also come with a full compliment of Monteverdi’s intended orchestral forces including a 30-strong choir, full orchestra and specially invited brass ensemble La Pifarescha. Working closely with the non-metric Latin text, the ensemble use changes of character, rhythm and metre to maximise its expressive potential. With performances on period instruments, authentic renditions of Gregorian chants and an attention to detail that even retunes concert pitch to its more historically accurate version, this is a faithful recording of a supreme work.
Dedicated to Pope Paul V, Monteverdi’s Vespers of 1610 is one of the great masterpieces of the early Baroque. The score features an amazing variety of styles – grand choral and instrumental, solo motets, two settings of the Magnificat, duets and trios in the latest monodic style, and above all, a sense of theatre, which might be explained by Monteverdi’s composition of two operas at around the same time, L’Orfeo and L’Arianna.
Monteverdi’s Vespers are performed regularly nowadays, and count among the iconic choral masterworks of the Renaissance/Baroque. This festive new recording by the Ensemble San Felice, conducted by Federico Bardazzi, features authentic instruments (cornettos and trombones!) and a line of excellent Italian vocal soloists.
01. Vespro della beata vergine, SV 206, in principio horarum: I. Deus, in adjutorium meum intende, II. Domine ad adjuvandum
02. Vespro della beata vergine, SV 206: III. Antiphona laeva ejus (IV A*)
03. Vespro della beata vergine, SV 206: III. Psalmus 109 (110) dixit dominus
04. Vespro della beata vergine, SV 206: III. Antiphona laeva ejus (IV A*), i collecta ante luciferum genite
05. Vespro della beata vergine, SV 206: IV. Concerto nigra sum
06. Vespro della beata vergine, SV 206: V. Antiphona jam hiems transiit (VIII G)
07. Vespro della beata vergine, SV 206: V. Psalmus 112 (113) laudate pueri
08. Vespro della beata vergine, SV 206: V. Antiphona jam hiems transiit (VIII G) il collecta laudantes benedictum nomen tuum domine
09. Vespro della beata vergine, SV 206: VI. Concerto pulchra es
10. Vespro della beata vergine, SV 206: VII. Antiphona hortus conclusus est (II)
11. Vespro della beata vergine, SV 206: VII. Psalmus 121 (122) laetatus sum
12. Vespro della beata vergine, SV 206: VII. Antiphona hortus conclusus est (II) III collecta ambulantibus in atriis domus tuae omnipotens deus
13. Vespro della beata vergine, SV 206: VIII. Concerto duo seraphim
14. Vespro della beata vergine, SV 206: IX. Antiphona quo abiit dilectus tuus (VI F)
15. Vespro della beata vergine, SV 206: IX. Psalmus 126 (127) nisi dominus
16. Vespro della beata vergine, SV 206: IX. Antiphona quo abiit dilectus tuus (VI F) IV ccollecta domorum spiritalium aedificator deus
17. Vespro della beata vergine, SV 206: X. Concerto audi coelom
18. Vespro della beata vergine, SV 206: XI. Antiphona favus distillans (III)
19. Vespro della beata vergine, SV 206: XI. Psalmus 147 lauda Jerusalem
20. Vespro della beata vergine, SV 206: XI. Antiphona favus distillans (III) V collecta conforta domine portas ecclesiae tuae
21. Vespro della beata vergine, SV 206: XI. Capitulum ab initio et ante saecula creata sum
22. Vespro della beata vergine, SV 206: XII. Sonata on Sancta Maria, ora pro nobis
23. Vespro della beata vergine, SV 206: XIII. Hymnus ave maris stella
24. Vespro della beata vergine, SV 206: XIII. Versiculum (Tonus solemnis), V. Diffusa est gratia in labiis tuis, R. Propterea benedixi te eus in aeternum
25. Vespro della beata vergine, SV 206: XIV. Antiphona ad magnificat virgo prudentissima (I F)
26. Vespro della beata vergine, SV 206: XIV. Magnificat
27. Vespro della beata vergine, SV 206: XIV. Et exultavit
28. Vespro della beata vergine, SV 206: XIV. Quia respexit
29. Vespro della beata vergine, SV 206: XIV. Quia fecit
30. Vespro della beata vergine, SV 206: XIV. Et Misericordia
31. Vespro della beata vergine, SV 206: XIV. Fecit potentiam
32. Vespro della beata vergine, SV 206: XIV. Deposuit potentes
33. Vespro della beata vergine, SV 206: XIV. Esurientes
34. Vespro della beata vergine, SV 206: XIV. Suscepit Israel
35. Vespro della beata vergine, SV 206: XIV. Sicut locutus
36. Vespro della beata vergine, SV 206: XIV. Gloria Patri
37. Vespro della beata vergine, SV 206: XIV. Sicut erat
38. Vespro della beata vergine, SV 206: XIV. Antiphona ad magnificat virgo prudentissima (I F) [2]
39. In fine horarum: Supplicatio litaniae, kyrie eleison, Pater noster Totum Secretum (All, in silence)
40. Oratio concede nos famulos tuos
41. Benedicamus domino
42. Antiphona finalis salve regina
An enduring masterpiece of early Baroque sacred music, Monteverdi’s Vespro della Beata Vergine (known in English as ‘Vespers’) was the most ambitious religious or vocal work to be written before the time of J.S. Bach, calling for a large chorus, soloists and orchestra and employing an innovative array of musical forms. Contrasting the contemplative cantus firmus underpinning the entire work (Dixit Dominus, Laetatus Sum) with moments of dazzling theatricality (Nisi Dominus, Deus in Adiutorium), Monteverdi looks to the future of dramatic music whilst staying true to the work’s Gregorian bloodline.
Under the guidance of director Federico Bardazzi, Ensemble Felice bring their scrupulous scholarship to the many interpretative decisions to be made, as the order of movements and much of the orchestration is left to the performers’ discretion. Grounded in research into the historical context and practices surrounding the work, Bardazzi has chosen to structure it by placing motets between the prescribed sequence of psalms. The quietude of the motets provides a wonderful contrast to these often grandiose choral movements, and the placing of the Sicut erat towards the end makes a fitting climax to the entire work. Ensemble Felice also come with a full compliment of Monteverdi’s intended orchestral forces including a 30-strong choir, full orchestra and specially invited brass ensemble La Pifarescha. Working closely with the non-metric Latin text, the ensemble use changes of character, rhythm and metre to maximise its expressive potential. With performances on period instruments, authentic renditions of Gregorian chants and an attention to detail that even retunes concert pitch to its more historically accurate version, this is a faithful recording of a supreme work.
Dedicated to Pope Paul V, Monteverdi’s Vespers of 1610 is one of the great masterpieces of the early Baroque. The score features an amazing variety of styles – grand choral and instrumental, solo motets, two settings of the Magnificat, duets and trios in the latest monodic style, and above all, a sense of theatre, which might be explained by Monteverdi’s composition of two operas at around the same time, L’Orfeo and L’Arianna.
Monteverdi’s Vespers are performed regularly nowadays, and count among the iconic choral masterworks of the Renaissance/Baroque. This festive new recording by the Ensemble San Felice, conducted by Federico Bardazzi, features authentic instruments (cornettos and trombones!) and a line of excellent Italian vocal soloists.
Year 2016 | Classical | FLAC / APE
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