Rinaldo Alessandrini - Bononcini: Messa, Stabat Mater (2012)
BAND/ARTIST: Rinaldo Alessandrini
- Title: Bononcini: Messa, Stabat Mater
- Year Of Release: 2012
- Label: naïve classique
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 01:19:55
- Total Size: 374 mb
- WebSite: Album Preview
Tracklist
01. Messa a cinque concertata in G Minor: I. Kyrie: Kyrie eleison I (Vivace)
02. Messa a cinque concertata in G Minor: II. Kyrie: Christe eleison (Andante)
03. Messa a cinque concertata in G Minor: III. Kyrie: Kyrie eleison II
04. Messa a cinque concertata in G Minor: IV. Gloria: Gloria in excelsis Deo (Vivace)
05. Messa a cinque concertata in G Minor: V. Gloria: Et in terra pax (Largo)
06. Messa a cinque concertata in G Minor: VI. Gloria: Laudamus te (Andante)- Glorificamus te
07. Messa a cinque concertata in G Minor: VII. Gloria: Gratias agimus tibi (Largo)
08. Messa a cinque concertata in G Minor: VIII. Gloria Domine Deus, Rex cœlestis (Andante)
09. Messa a cinque concertata in G Minor: IX. Gloria (Vivace) Deus Agnus Dei Filius Patris
10. Messa a cinque concertata in G Minor: X. Gloria: Qui tollis (Largo)-Suscipe-Miserere no
11. Messa a cinque concertata in G Minor: XI. Gloria: Quoniam tu solus (Tempo giusto)
12. Messa a cinque concertata in G Minor: XII. Gloria: Cum sancto spiritu – Amen
13. Messa a cinque concertata in G Minor: XIII. Credo: Patrem omnipotentem-Et incarnatus est
14. Messa a cinque concertata in G Minor: XIV. Credo: Crucifixus (Largo)
15. Messa a cinque concertata in G Minor: XV. Credo: Et resurrexit (Vivace)
16. Messa a cinque concertata in G Minor: XVI. Credo: Et in Spiritum Sanctum-Et in unam sanctum
17. Messa a cinque concertata in G Minor: XVIII. Sanctus: Sanctus (Andante)-Hosanna [Vivace]
18. Messa a cinque concertata in G Minor: XVIII. Benedictus: Benedictus qui venit (Largo)-Hosanna
19. Messa a cinque concertata in G Minor: XIX. Agnus Dei: Agnus Dei-Misererre nobis Dona nobis
20. Stabat Mater a quatro in C Minor: I. Stabat Mater dolorosa (Largo)
21. Stabat Mater a quatro in C Minor: II. O quam tristis et afflicta
22. Stabat Mater a quatro in C Minor: III. Quis est homo, qui non fleret
23. Stabat Mater a quatro in C Minor: IV. Pro peccatis suæ gentis
24. Stabat Mater a quatro in C Minor: V. Eia, mater, fons amoris-Fac, ut ardeat cor meum
25. Stabat Mater a quatro in C Minor: VI. Sancta mater, istud agas
26. Stabat Mater a quatro in C Minor: VII. Fac me vere tecum flere (Sostenuto)
27. Stabat Mater a quatro in C Minor: VIII. Juxta crucem tecum stare
28. Stabat Mater a quatro in C Minor: IX. Virgo virginum præclara
29. Stabat Mater a quatro in C Minor: X. Fac, ut portem
30. Stabat Mater a quatro in C Minor: XI. Fac me plagis vulnerary
31. Stabat Mater a quatro in C Minor: XIII. Fac me cruce custodiri (Affetuoso)
32. Stabat Mater a quatro in C Minor: XIII. Quando corpus morietur (Largo)-Paradisi Gloria
“Fifty years of ‘rediscovery’ of early music have led – in addition to that of ‘period style’ – also and above all to the rediscovery of the inexhaustible musical treasure trove conserved in libraries all over the world. And these two pieces by Antonio Bononcini might be seen as a perfect example of the phenomenon. In fact, the Stabat Mater (held in the Biblioteca Estense in Modena) is already known, having been published a few years ago and enjoyed a very occasional concert performance. By contrast, the monumental mass (now in the Library of the Florence Conservatory) has not yet been published and has never before been performed in public or recorded. We are dealing here with two outstanding specimens of an individual and vigorous contrapuntal style, combined with a typically Italian melodic line: a mixture that is quite certainly unprecedented, at least at the level of technical skill shown by Bononcini. The greatest cause for astonishment when one listens to this mass certainly comes from its dimensions and its conception: when one considers the relatively modest resources deployed, Bononcini’s work radiates a splendour of inspiration and a profundity comparable to that of the greatest contrapuntists, from Bach downwards. Nor should one forget the composer’s achievement in creating a synthesis between ecclesiastical and operatic styles: a delicate interaction that more or less determined the success and effectiveness of a sacred work at the time.” Rinaldo Alessandrini
Concerto Italiano’s revelatory interpretations have revolutionised our perception of 17th-and 18th-century Italian music (the group’s groundbreaking recordings of Monteverdi’s madrigals have achieved international benchmark status), establishing it with critics and audiences as the finest ensemble of its kind in Italy today. Concerto Italiano records exclusively for Naïve. Recent releases include Monteverdi’s L’Orfeo, a collection of sacred music by A. Scarlatti, Monteverdi’s complete Eighth Book and Bach’s Brandenburg Concertos. Rinaldo Alessandrini's latest recording '1600' [OP30531] is shortlisted for a Gramophone Award 2012.
01. Messa a cinque concertata in G Minor: I. Kyrie: Kyrie eleison I (Vivace)
02. Messa a cinque concertata in G Minor: II. Kyrie: Christe eleison (Andante)
03. Messa a cinque concertata in G Minor: III. Kyrie: Kyrie eleison II
04. Messa a cinque concertata in G Minor: IV. Gloria: Gloria in excelsis Deo (Vivace)
05. Messa a cinque concertata in G Minor: V. Gloria: Et in terra pax (Largo)
06. Messa a cinque concertata in G Minor: VI. Gloria: Laudamus te (Andante)- Glorificamus te
07. Messa a cinque concertata in G Minor: VII. Gloria: Gratias agimus tibi (Largo)
08. Messa a cinque concertata in G Minor: VIII. Gloria Domine Deus, Rex cœlestis (Andante)
09. Messa a cinque concertata in G Minor: IX. Gloria (Vivace) Deus Agnus Dei Filius Patris
10. Messa a cinque concertata in G Minor: X. Gloria: Qui tollis (Largo)-Suscipe-Miserere no
11. Messa a cinque concertata in G Minor: XI. Gloria: Quoniam tu solus (Tempo giusto)
12. Messa a cinque concertata in G Minor: XII. Gloria: Cum sancto spiritu – Amen
13. Messa a cinque concertata in G Minor: XIII. Credo: Patrem omnipotentem-Et incarnatus est
14. Messa a cinque concertata in G Minor: XIV. Credo: Crucifixus (Largo)
15. Messa a cinque concertata in G Minor: XV. Credo: Et resurrexit (Vivace)
16. Messa a cinque concertata in G Minor: XVI. Credo: Et in Spiritum Sanctum-Et in unam sanctum
17. Messa a cinque concertata in G Minor: XVIII. Sanctus: Sanctus (Andante)-Hosanna [Vivace]
18. Messa a cinque concertata in G Minor: XVIII. Benedictus: Benedictus qui venit (Largo)-Hosanna
19. Messa a cinque concertata in G Minor: XIX. Agnus Dei: Agnus Dei-Misererre nobis Dona nobis
20. Stabat Mater a quatro in C Minor: I. Stabat Mater dolorosa (Largo)
21. Stabat Mater a quatro in C Minor: II. O quam tristis et afflicta
22. Stabat Mater a quatro in C Minor: III. Quis est homo, qui non fleret
23. Stabat Mater a quatro in C Minor: IV. Pro peccatis suæ gentis
24. Stabat Mater a quatro in C Minor: V. Eia, mater, fons amoris-Fac, ut ardeat cor meum
25. Stabat Mater a quatro in C Minor: VI. Sancta mater, istud agas
26. Stabat Mater a quatro in C Minor: VII. Fac me vere tecum flere (Sostenuto)
27. Stabat Mater a quatro in C Minor: VIII. Juxta crucem tecum stare
28. Stabat Mater a quatro in C Minor: IX. Virgo virginum præclara
29. Stabat Mater a quatro in C Minor: X. Fac, ut portem
30. Stabat Mater a quatro in C Minor: XI. Fac me plagis vulnerary
31. Stabat Mater a quatro in C Minor: XIII. Fac me cruce custodiri (Affetuoso)
32. Stabat Mater a quatro in C Minor: XIII. Quando corpus morietur (Largo)-Paradisi Gloria
“Fifty years of ‘rediscovery’ of early music have led – in addition to that of ‘period style’ – also and above all to the rediscovery of the inexhaustible musical treasure trove conserved in libraries all over the world. And these two pieces by Antonio Bononcini might be seen as a perfect example of the phenomenon. In fact, the Stabat Mater (held in the Biblioteca Estense in Modena) is already known, having been published a few years ago and enjoyed a very occasional concert performance. By contrast, the monumental mass (now in the Library of the Florence Conservatory) has not yet been published and has never before been performed in public or recorded. We are dealing here with two outstanding specimens of an individual and vigorous contrapuntal style, combined with a typically Italian melodic line: a mixture that is quite certainly unprecedented, at least at the level of technical skill shown by Bononcini. The greatest cause for astonishment when one listens to this mass certainly comes from its dimensions and its conception: when one considers the relatively modest resources deployed, Bononcini’s work radiates a splendour of inspiration and a profundity comparable to that of the greatest contrapuntists, from Bach downwards. Nor should one forget the composer’s achievement in creating a synthesis between ecclesiastical and operatic styles: a delicate interaction that more or less determined the success and effectiveness of a sacred work at the time.” Rinaldo Alessandrini
Concerto Italiano’s revelatory interpretations have revolutionised our perception of 17th-and 18th-century Italian music (the group’s groundbreaking recordings of Monteverdi’s madrigals have achieved international benchmark status), establishing it with critics and audiences as the finest ensemble of its kind in Italy today. Concerto Italiano records exclusively for Naïve. Recent releases include Monteverdi’s L’Orfeo, a collection of sacred music by A. Scarlatti, Monteverdi’s complete Eighth Book and Bach’s Brandenburg Concertos. Rinaldo Alessandrini's latest recording '1600' [OP30531] is shortlisted for a Gramophone Award 2012.
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