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Frank Markowitsch, Vokalakademie Berlin - Alessandro Scarlatti: Vespro della Beata Vergine (2012)

Posted By: ArlegZ
Frank Markowitsch, Vokalakademie Berlin - Alessandro Scarlatti: Vespro della Beata Vergine (2012)

Frank Markowitsch, Vokalakademie Berlin - Alessandro Scarlatti: Vespro della Beata Vergine (2012)
EAC | FLAC | Image (Cue & Log) ~ 261 Mb | Total time: 59:39 | Scans included
Classical | Label: Rondeau | ROP6062 | Recorded: 2012

Those surprised by the existence of a Vespro della beata vergine (Vespers of the Blessed Virgin) by Alessandro Scarlatti can take comfort in the fact that there is actually no such thing; what's on offer here is a collection of psalm settings along with a hymn and Magnificat that could have been used for the Vespers service during Scarlatti's time. But, noted Susanne Fontaine, the same is true of Claudio Monteverdi's famous set of Vespers of 1610, which was a compilation rather than a unified work. Whatever the origins of Scarlatti's pieces, they do seem to fit together nicely as a set, evincing a mixture of Baroque Catholic traditionalism and operatic thinking. Several of the psalms work chant material into contrapuntal choral sections, contrasting it with more florid solo passages.

Gilbert Bezzina, Nice Baroque Ensemble - Alessandro Scarlatti: La Giuditta (2009)

Posted By: ArlegZ
Gilbert Bezzina, Nice Baroque Ensemble - Alessandro Scarlatti: La Giuditta (2009)

Gilbert Bezzina, Nice Baroque Ensemble - Alessandro Scarlatti: La Giuditta (2009)
EAC | FLAC | Image (Cue & Log) ~ 383 Mb | Total time: 73:58 | Scans included
Classical | Label: Dynamic | CDS 596 | Recorded: 2008

Alessandro Scarlatti La Giuditta was written for five voices and instruments. In 1697, Scarlatti set a second libretto, this time written by Cardinal Ottoboni’s father, Antonio, in which the number of characters was reduced to three. We do not know the occasion for which this second setting was created and lack information on its first performance. The differences between the two versions are discussed in Brian Robins’ review of a previous recording, which interested readers will find in the Archive. (Robins states that the second version was written for Rome in 1700. The notes to Dynamic’s recording state that the first version was the one performed in 1700.)

Sara Mingardo, Sandrine Piau, Rinaldo Alessandrini, Concerto Italiano - Un Viaggio a Roma (2018)

Posted By: ArlegZ
Sara Mingardo, Sandrine Piau, Rinaldo Alessandrini, Concerto Italiano - Un Viaggio a Roma (2018)

Sara Mingardo, Sandrine Piau, Rinaldo Alessandrini, Concerto Italiano - Un Viaggio a Roma: Handel, Stradella, Muffat, Scarlatti, Corelli (2018)
EAC | FLAC | Image (Cue & Log) ~ 355 Mb | Total time: 70:13 | Scans included
Classical | Label: Naïve | # OP30565 | Recorded: 2015, 2017

Handel, Scarlatti, Corelli, Stradella, Muffat … From 1650 to the beginning of the eighteenth century, Rome exercised an immense power in attracting composers from all over Europe and experienced an intense moment of musical activity, because of - or in spite of - the papal administration. It was a prosperous period with a melting pot of influences. The programme devised here by the Roman conductor, Rinaldo Alessandrini, offers a complete and personal vision of the time, passionate and secular, lyrical (made sublime by Sandrine Piau) and orchestral, romantic in every way. Rinaldo Alessandrini is one of the leading figures in the international early music scene.

Teresio Colombotto, Capella Musicale di San Grato - A. Scarlatti, F.M. Benedetti: Gaude Flore (2006)

Posted By: ArlegZ
Teresio Colombotto, Capella Musicale di San Grato - A. Scarlatti, F.M. Benedetti: Gaude Flore (2006)

Teresio Colombotto, Capella Musicale di San Grato - A. Scarlatti, F.M. Benedetti: Gaude Flore (2006)
EAC | FLAC | Image (Cue & Log) ~ 280 Mb | Total time: 57:53 | Scans included
Classical | Label: Stradivarius | STR33721 | Recorded: 2005

A selection of music from the Italian Baroque contained in manuscripts held in the library of the cathedral of Aosta in Italy. The number of works in this collection is small, but of very high quality, demonstrating the high artistic quality of musical life in the cathedral at that time. Some of the composers are unknown, but familiar names include Alessandro Scarlatti and Francesco Maria Benedetti.

Elaine Comparone, The Queen's Chamber Band - Alessandro Scarlatti: La Giuditta (2007)

Posted By: ArlegZ
Elaine Comparone, The Queen's Chamber Band - Alessandro Scarlatti: La Giuditta (2007)

Elaine Comparone, The Queen's Chamber Band - Alessandro Scarlatti: La Giuditta (2007)
EAC | FLAC | Image (Cue & Log) ~ 407 Mb | Total time: 45:00+48:03 | Scans included
Classical | Label: Albany Records | TROY904/905 | Recorded: 2006

This biblical story, with its historical references to specific cities, generals and kings, is accepted as canon by Roman Catholic theologians, although it doesn t appear in either Hebrew or Protestant scriptures. The Book of Judith is set in the time of the mighty Assyrian ruler Nebuchadnezzar, King of Nineveh. Seeking to expand his empire, the king sends armies, led by General Holofernes (Oloferne), to subdue neighboring kingdoms, all of whom surrender under his powerful forces. The only ones who refuse to capitulate are the Israelites, who cordon off their mountain passes and gather provisions to resist a siege. Instead of a massacre, Holofernes discovers and commandeers their water sources.

Adriana Fernandez, Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: L'Olimpia, L'Arianna (2012)

Posted By: ArlegZ
Adriana Fernandez, Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: L'Olimpia, L'Arianna (2012)

Adriana Fernandez, Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: L'Olimpia, L'Arianna, Su le sponde del Tebro (2012)
EAC | FLAC | Image (Cue & Log) ~ 386 Mb | Total time: 48:41 | Scans included
Classical | Label: CPO | 777 748-2 | Recorded: 2009

Marcello Di Lisa presents three cantate con stromenti that explore the anguish of abandoned lovers; his erudite booklet-note discusses the literary tradition behind the stories of the shepherd Aminta (a stock Arcadian character with roots in Hellenistic poetry), Ariadne abandoned by Theseus on Naxos, and the forsaken Olimpia (heroine of cantos 9-11 of Ariosto’s Orlando furioso), and also provides a penetrating commentary on the musical content of Scarlatti’s cantatas.

Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)

Posted By: ArlegZ
Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)

Pál Németh, Savaria Baroque Orchestra - Alessandro Scarlatti: Il Trionfo dell' Onestà, Venere e Amore (2003)
EAC | FLAC | Image (Cue & Log) ~ 403 Mb | Total time: 66:32 | Scans included
Classical | Label: Hungaroton ‎| # HCD32101 | Recorded: 2001, 2002

Deux oeuvres mineures de Scarlatti composent cet enregistrement, deux sérénades galantes mettant en scène l’une le triomphe de l’honnêteté sur Cupidon, l’autre Vénus et son fils l’Amour vantant ses victoires. Ersatz d’opéras, interdits par le pape À Rome lorsque Scarlatti est au service d’Ottoboni, mais sans vrai schéma dramatique, exportées sans grand succès à Naples comme Venere e Amore, ces compositions pour le plein air ou le théâtre privé sont charmantes mais d’un intérêt secondaire. Reste la curiosité au disque d’un volet du travail de Scarlatti peu connu.

Pál Németh, Capella Savaria - Alessandro Scarlatti: Stabat Mater (1986)

Posted By: ArlegZ
Pál Németh, Capella Savaria - Alessandro Scarlatti: Stabat Mater (1986)

Pál Németh, Capella Savaria - Alessandro Scarlatti: Stabat Mater (1986)
EAC | FLAC | Image (Cue & Log) ~ 306 Mb | Total time: 44:39 | Scans included
Classical | Label: Hungaroton| # HCD 12732-2 | Recorded: 1986

Scarlatti composed his Stabat mater for the Neapolitan brotherhood of the Cavalieri della Vergine dei dolori. He scored it for two solo voices, soprano and mezzo-soprano with an orchestra of strings. The Stabat mater text prevented him from adopting the 'recitative-aria' patter of the cantata and so he alternated solo and duet numbers almost throughout, introducing two short arioso sections towards the conclusion of the work. scarlatti, like Pergolesi, shows remarkable resourcefulness in the achievement of variety within what, on the face of it, looks like a restricted pattern. Pergolesi, incidentally, composed his Stabat mater for the same Neapolitan brotherhood and must certainly have takne Scarlatti's setting as his model since the similarities are too numerous and too close to be merely accidental.

Guadalupe Lopez Iniguez - Domenico Gabrielli & Alessandro Scarlatti: Complete Cello Works (2018)

Posted By: Designol
Guadalupe Lopez Iniguez - Domenico Gabrielli & Alessandro Scarlatti: Complete Cello Works (2018)

Domenico Gabrielli & Alessandro Scarlatti - Complete Cello Works (2018)
Guadalupe López Íñiguez, baroque cello; Markku Luolajan-Mikkola, baroque cello
Olli Hyyrynen, baroque guitar, archlute; Lauri Honkavirta, harpsichord

EAC | FLAC | Image (Cue&Log) ~ 363 Mb | Mp3 (CBR320) ~ 179 Mb | Scans included
Genre: Classical | Label: Alba | # ABCD412 | Time: 01:14:53

Guadalupe López Íñiguez’s debut recording includes complete cello works from Gabrielli and Scarlatti, Recorded with the best baroque musicians in Finland. "I have included music that played an important role in my desired transformation from a “contemporary-trained” cellist to a “historically inspired” one. The reasons for such a desire are numerous and span several years and different experiences in my life,” (Guadalupe). Doctor of Psychology and Master of Music Guadalupe López Íñiguez is a Spanish academic– musician based at the Sibelius Academy, University of the Arts Helsinki. Guadalupe has performed as a soloist on period cellos in different festivals. She is especially grateful for the encouragement received from artists Rafael Ramos, Markku Luolajan- Mikkola, and Ciro Rodríguez Perelló. Her artistic and scientific research comprises all her areas of expertise—namely psychology, sociology, research methodology, education, and musicology—in understanding the holistic performance of classical music.

Joël Suhubiette, Ensemble Jacques Moderne - Vêpres Romaines: P.P. Bencini, A. Scarlatti (2023)

Posted By: ArlegZ
Joël Suhubiette, Ensemble Jacques Moderne - Vêpres Romaines: P.P. Bencini, A. Scarlatti (2023)

Joël Suhubiette, Ensemble Jacques Moderne - Vêpres Romaines: P.P. Bencini, A. Scarlatti (2023)
EAC | FLAC | Image (Cue & no Log) ~ 338 Mb | Total time: 76:59 | Scans included
Classical | Label: Mirare | # MIR602 | Recorded: 2021

From the mid-seventeenth century to the first two decades of the eighteenth century, Rome experienced one of the most brilliant musical periods in its history. In this recording, the Ensemble Jacques Moderne works composed for a Vespers service, one of the principal moments of the Liturgy of the Hours, which consisted of a sequence of psalms and antiphons concluding with a Magnificat.

Sabrina Frey, Philippe Grisvard - Italian Sonatas 1730: Remembering Naples & Venice (2022)

Posted By: ArlegZ
Sabrina Frey, Philippe Grisvard - Italian Sonatas 1730: Remembering Naples & Venice (2022)

Sabrina Frey, Philippe Grisvard - Italian Sonatas 1730: Remembering Naples & Venice (2022)
EAC | FLAC | Image (Cue & Log) ~ 362 Mb | Total time: 59:05 | Scans included
Classical | Label: TYXArt | # TXA21166 | Recorded: 2021

This CD offers a glimpse at the work of long-term collaborators Sabrina Frey and Philippe Grisvard. Frey and Grisvard present a program for recorder and harpsichord that exploits the tonal and interpretative registers of these two instruments.

Anthony Rooley, The Consort of Musicke - Alessandro Scarlatti, Antonio Lotti: Madrigali (1991)

Posted By: ArlegZ
Anthony Rooley, The Consort of Musicke - Alessandro Scarlatti, Antonio Lotti: Madrigali (1991)

Anthony Rooley, The Consort of Musicke - Alessandro Scarlatti, Antonio Lotti: Madrigali (1991)
EAC | FLAC | Image (Cue & Log) ~ 374 Mb | Total time: 51:44 | Scans included
Classical | Label: Deutsche Harmonia Mundi | 77194-2-RC | Recorded: 1986

In as much as Alessandro Scarlatti's music is known at all, it is the large-scale operas and the chamber cantatas that have justifiably attracted the most attention. That the leading composer for the Neapolitan stage should also have turned his hand to madrigal composition, by then a distinctly outmoded and declining genre, is easily overlooked, yet a handful of such pieces have survived in manuscripts and, as this record persuasively argues, they certainly deserve a hearing. Perhaps even more surprising than their existence and survival is their style; Scarlatti eschews the possibilities of the basso continuo and opts instead for a language which at times echoes the techniques of the great age of madrigal-writing of some 100 years earlier, and above all the music of Monteverdi and Gesualdo.

Milena Frigé - Alessandro Scarlatti: Toccate per Clavicembalo e per Organo (1995)

Posted By: ArlegZ
Milena Frigé - Alessandro Scarlatti: Toccate per Clavicembalo e per Organo (1995)

Milena Frigé - Alessandro Scarlatti: Toccate per Clavicembalo e per Organo (1995)
EAC | FLAC | Image (Cue & Log) ~ 509 Mb | Total time: 72:30 | Scans included
Classical | Label: Stradivarius | # STR 33386 | Recorded: 1993, 1994

Talented concert soloist Milena Frigé presents the toccatas of Scarlatti on the Tamburini Organ of Chiesa di Santa Bernardetta in Milan, and a Granziera Harpsichord modelled after a 1703 Grimbaldi instrument, representative of the instruments for which Scarlatti composed these works.

Francesco Tasini - Alessandro Scarlatti: Opera omnia per tastiera Vol. IV (2013)

Posted By: ArlegZ
Francesco Tasini - Alessandro Scarlatti: Opera omnia per tastiera Vol. IV (2013)

Francesco Tasini - Alessandro Scarlatti: Opera omnia per tastiera Vol. IV (2013)
EAC| FLAC | Image (Cue & Log) ~ 519 Mb | Total time: 68:35 | Scans included
Classical | Label: Tactus | # TC661914 | Recorded: 2011

This is our fourth CD containing compositions by Alessandro Scarlatti (1660–1725) that were chiefly meant for the harpsichord and performed on it. The project stemmed, in a natural, almost parallel fashion, from the programme for the study and publication of the vast corpus of manuscript sources (no less than 25) of Alessandro Scarlatti’s pieces for keyboard instruments that was started by us more than ten years ago: the publication of his Opera Omnia per strumento a tastiera by the publisher Ut Orpheus Edizioni of Bologna (edited by Andrea Macinanti and Francesco Tasini) began in 2000 and was completed in 2012 with the printing of the sixth and last volume.

Olivier Fortin, Ensemble Masques - Noël Baroque: Charpentier, A.Scarlatti, Schiassi, Delalande (2005)

Posted By: ArlegZ
Olivier Fortin, Ensemble Masques - Noël Baroque: Charpentier, A.Scarlatti, Schiassi, Delalande (2005)

Olivier Fortin, Ensemble Masques - Noël Baroque: Charpentier, A.Scarlatti, Schiassi, Delalande (2005)
EAC | FLAC | Image (Cue & Log) ~ 374 Mb | Total time: 67:14 | Scans included
Classical | Label: Analekta | # AN 2 9908 | Recorded: 2005

Yet another fine early music ensemble pops up for the holiday season, courtesy of Analekta. Masques has assembled a charming program of Christmas music from the Baroque period, which of course basically sounds like any other kind of Baroque music, but it's pleasing and spunky nevertheless. The highlights are the two sets of instrumental Noëls by Charpentier and Delalande, which present a festive garland of Christmas tunes in colorful instrumental garb, recorders well to the fore. They are delightful. Schiassi's Concerto for Strings ends with one of those wonderful pastoral numbers, thus establishing its seasonal credentials in the Corellian tradition.