Carolyn Sampson, The King'S Consort, Robert King - Mozart: Exsultate jubilate & Other Sacred Works for Soprano (2006)
BAND/ARTIST: Carolyn Sampson, The King'S Consort, Robert King
- Title: Mozart: Exsultate jubilate & Other Sacred Works for Soprano
- Year Of Release: 2006
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:05:36
- Total Size: 284 mb
- WebSite: Album Preview
Tracklist
01. Regina caeli in C Major, K. 108: I. Regina caeli laetare
02. Regina caeli in C Major, K. 108: II. Quia quem meruisti
03. Regina caeli in C Major, K. 108: III. Ora pro nobis
04. Regina caeli in C Major, K. 108: IV. Alleluia
05. Vesperae solennes de Confessore, K. 339: V. Laudate Dominum
06. Sub tuum praesidium, K. 198
07. Sancta Maria, mater Dei, K. 273
08. Exsultate, jubilate, K. 165: I. Exsultate, jubilate. Allegro
09. Exsultate, jubilate, K. 165: II. Tandem advenit hora (1st Salzburg Text)
10. Exsultate, jubilate, K. 165: III. Tu virginum corona
11. Exsultate, jubilate, K. 165: IV. Alleluja. Allegro
12. Mass in C Major, K. 317 "Coronation Mass": VI. Agnus Dei
13. Vesperae solennes de Dominica, K. 321: V. Laudate Dominum
14. Regina caeli in B-Flat Major, K. 127: I. Regina caeli laetare
15. Regina caeli in B-Flat Major, K. 127: II. Quia quem meruisti
16. Regina caeli in B-Flat Major, K. 127: III. Ora pro nobis
17. Regina caeli in B-Flat Major, K. 127: IV. Alleluia
This recording presents a Mozartian showcase for the extraordinary talents of Carolyn Sampson, and is also something of a rarity, the repertoire all dating the composer’s time in Salzburg. Two Regina caeli settings (for soprano, chorus and big orchestra), written whilst Mozart was still only in his mid-teens, are extremely fine—but not so often heard and even less often recorded. This is superb music: triumphant outer movements and heartfelt, more introspective inner sections which find Mozart at his most ardent.
Exsultate, iubilate has, of course, been performed and recorded widely, but usually in the ‘Milan’ version; here we record the rarely heard ‘Salzburg’ version, which has a different orchestration (delicate flutes instead of oboes giving a very different colour) and different words. It ends, of course, with the wildly famous, virtuosic ‘Alleluia’.
These three works make substantial pillars for the disc. But there is much more! A series of shorter jewels, including three of the greatest movements for solo soprano taken from larger sacred works: the hugely famous ‘Laudate Dominum’ from the Vesperae solennes de Confessore (which could be by Verdi, with its amazing soft chorus entry part of the way through), the utterly ravishing ‘Agnus Dei’ from the ‘Coronation’ Mass, and a cheerful and less often heard ‘Laudate Dominum’ from the Vesperae solennes de Domenica with a cheery organ solo duetting with the voice.
Finally we have a very rarely heard duet, Sub tuum praesidium, where, thanks to the wonders of technology, Carolyn duets with herself—surely no two sopranos have ever duetted more perfectly, and it is a glorious piece of writing.
Reviewing the concert prior to the recording sessions for this disc, Geoffrey Norris wrote in The Daily Telegraph that The King’s Consort and Robert King displayed ‘an unerring understanding of Mozart’s sublime thrills’ and that ‘Carolyn Sampson produced pure streams of coloratura’.
01. Regina caeli in C Major, K. 108: I. Regina caeli laetare
02. Regina caeli in C Major, K. 108: II. Quia quem meruisti
03. Regina caeli in C Major, K. 108: III. Ora pro nobis
04. Regina caeli in C Major, K. 108: IV. Alleluia
05. Vesperae solennes de Confessore, K. 339: V. Laudate Dominum
06. Sub tuum praesidium, K. 198
07. Sancta Maria, mater Dei, K. 273
08. Exsultate, jubilate, K. 165: I. Exsultate, jubilate. Allegro
09. Exsultate, jubilate, K. 165: II. Tandem advenit hora (1st Salzburg Text)
10. Exsultate, jubilate, K. 165: III. Tu virginum corona
11. Exsultate, jubilate, K. 165: IV. Alleluja. Allegro
12. Mass in C Major, K. 317 "Coronation Mass": VI. Agnus Dei
13. Vesperae solennes de Dominica, K. 321: V. Laudate Dominum
14. Regina caeli in B-Flat Major, K. 127: I. Regina caeli laetare
15. Regina caeli in B-Flat Major, K. 127: II. Quia quem meruisti
16. Regina caeli in B-Flat Major, K. 127: III. Ora pro nobis
17. Regina caeli in B-Flat Major, K. 127: IV. Alleluia
This recording presents a Mozartian showcase for the extraordinary talents of Carolyn Sampson, and is also something of a rarity, the repertoire all dating the composer’s time in Salzburg. Two Regina caeli settings (for soprano, chorus and big orchestra), written whilst Mozart was still only in his mid-teens, are extremely fine—but not so often heard and even less often recorded. This is superb music: triumphant outer movements and heartfelt, more introspective inner sections which find Mozart at his most ardent.
Exsultate, iubilate has, of course, been performed and recorded widely, but usually in the ‘Milan’ version; here we record the rarely heard ‘Salzburg’ version, which has a different orchestration (delicate flutes instead of oboes giving a very different colour) and different words. It ends, of course, with the wildly famous, virtuosic ‘Alleluia’.
These three works make substantial pillars for the disc. But there is much more! A series of shorter jewels, including three of the greatest movements for solo soprano taken from larger sacred works: the hugely famous ‘Laudate Dominum’ from the Vesperae solennes de Confessore (which could be by Verdi, with its amazing soft chorus entry part of the way through), the utterly ravishing ‘Agnus Dei’ from the ‘Coronation’ Mass, and a cheerful and less often heard ‘Laudate Dominum’ from the Vesperae solennes de Domenica with a cheery organ solo duetting with the voice.
Finally we have a very rarely heard duet, Sub tuum praesidium, where, thanks to the wonders of technology, Carolyn duets with herself—surely no two sopranos have ever duetted more perfectly, and it is a glorious piece of writing.
Reviewing the concert prior to the recording sessions for this disc, Geoffrey Norris wrote in The Daily Telegraph that The King’s Consort and Robert King displayed ‘an unerring understanding of Mozart’s sublime thrills’ and that ‘Carolyn Sampson produced pure streams of coloratura’.
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