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Domenico Scarlatti: Stabat Mater
composed by Domenico Scarlatti, 1685-1757; conducted by Francis Grier; produced by Mark Brown, 1962-; performed by Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris and Nicholas Clapton, Choir of Christ Church Cathedral, Oxford (Hyperion), 53 mins
The choral music of Domenico Scarlatti is almost unknown, a mere footnote to the hundreds of concise yet radically innovative keyboard sonatas that were among the first works of the late Baroque/early Classical period to receive frequent performances. This disc from Belgium's Ricercar label, with a truly pan-Europ...
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composed by Domenico Scarlatti, 1685-1757; conducted by Francis Grier; produced by Mark Brown, 1962-; performed by Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris and Nicholas Clapton, Choir of Christ Church Cathedral, Oxford (Hyperion), 53 mins
Description
The choral music of Domenico Scarlatti is almost unknown, a mere footnote to the hundreds of concise yet radically innovative keyboard sonatas that were among the first works of the late Baroque/early Classical period to receive frequent performances. This disc from Belgium's Ricercar label, with a truly pan-European group of singers called Vox Luminis, is labeled as a performance of the Scarlatti Stabat Mater (less familiar even than that of his...
The choral music of Domenico Scarlatti is almost unknown, a mere footnote to the hundreds of concise yet radically innovative keyboard sonatas that were among the first works of the late Baroque/early Classical period to receive frequent performances. This disc from Belgium's Ricercar label, with a truly pan-European group of singers called Vox Luminis, is labeled as a performance of the Scarlatti Stabat Mater (less familiar even than that of his father, Alessandro Scarlatti), but it actually includes four choral works of various kinds, plus two keyboard sonatas played on the organ. All, except for the opening Te Deum laudamus, are as conservative as the keyboard sonatas are radical -- polyphonic, rarely operatic, and drawing on aspects of Renaissance music and styles of the early Baroque. They may have been early works, written in Rome before Scarlatti's departure for the Iberian peninsula, but this is not certain. What's most striking is that, although conservative, the music shows a good deal of Scarlatti's characteristic imagination. Consider the Stabat Mater itself, specified as a setting for 10 voices and continuo. That would lead the listener to expect two choirs of five voices each, or some other subdivision, but that's not the case; it's an actual 10-part polyphonic setting of the text, with constantly shifting configurations of the 10 voices, a moving setting of "Juxta crucem" in which onlookers seem to add their voices in mourning, and a slam-bang finale in which all spring into action to depict the soul "inflamed and burning" at the day of judgment and its ascent into the "glory of Paradise." Vox Luminis has a rather dry sound with one voice per part -- normally undesirable in music where choirs were available, and destructive of the contrasts in the four-voice Miserere that closes the program, with its alternation among choral, solo, and chant sections. In the Stabat Mater, however, it works quite well in clarifying the complex textures of the work. Recommended for those enamored of Domenico Scarlatti's peculiar genius, especially those tolerant of one-voice-per-part approaches. ~ James Manheim, All Music Guide
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Date Written / Recorded
1985-07-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Choir of Christ Church Cathedral, Oxford, Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris, Nicholas Clapton
Contributor
Francis Grier, Anthony Howell, Mark Brown, 1962-
Author / Creator
Domenico Scarlatti, 1685-1757, Choir of Christ Church Cathedral, Oxford, Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris, Nicholas Clapton
Publisher
Hyperion
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Eberlin: Sacred Choral Music
composed by Johann Ernst Eberlin, 1702-1762; conducted by Ralph Allwood; produced by Lydia Smallwood; performed by Christopher Whitton, Rodolphus Choir (Gaudeamus), 1 hour 2 mins
Sample
composed by Johann Ernst Eberlin, 1702-1762; conducted by Ralph Allwood; produced by Lydia Smallwood; performed by Christopher Whitton, Rodolphus Choir (Gaudeamus), 1 hour 2 mins
Date Written / Recorded
1998-07-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Rodolphus Choir, Christopher Whitton
Contributor
Ralph Allwood, Brian Johnson, Lydia Smallwood
Author / Creator
Johann Ernst Eberlin, 1702-1762, Rodolphus Choir, Christopher Whitton
Publisher
Gaudeamus
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Lustgarten neuer teutscher Gesäng/Balletti, Galliarden, und Intraden mit 4, 5, 6, und 8 stimmen
edited by Friedrich Belle; composed by Hans Leo Hassler, 1562-1612 (1601), Lustgarten neuer teutscher Gesäng/Balletti, Galliarden, und Intraden mit 4, 5, 6, und 8 stimmen (Breitkopf and Härtel, 1887), 77 page(s)
Sample
edited by Friedrich Belle; composed by Hans Leo Hassler, 1562-1612 (1601), Lustgarten neuer teutscher Gesäng/Balletti, Galliarden, und Intraden mit 4, 5, 6, und 8 stimmen (Breitkopf and Härtel, 1887), 77 page(s)
Collection
Classical Scores Library, Volume I
Date Written / Recorded
1601
Field of Study
Classical Music
Content Type
Score
Contributor
Friedrich Belle
Author / Creator
Hans Leo Hassler, 1562-1612
Date Published / Released
1887
Publisher
Breitkopf and Härtel
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Music from My Heart
produced by Mark J. Morette, 1963-; performed by John LIndsey and MIchael Sitton (Mark Custom, 2020), 1 min
Sample
produced by Mark J. Morette, 1963-; performed by John LIndsey and MIchael Sitton (Mark Custom, 2020), 1 min
Date Written / Recorded
2019-10-29
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
John LIndsey, MIchael Sitton
Contributor
Mark J. Morette, 1963-
Author / Creator
John LIndsey, MIchael Sitton
Date Published / Released
2020
Publisher
Mark Custom
Copyright Message
Copyright © 2020 Mark Custom
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The Silver Swan
composed by Henry Purcell, 1659-1695; performed by Matthew Barley (Black Box), 57 mins
Sample
composed by Henry Purcell, 1659-1695; performed by Matthew Barley (Black Box), 57 mins
Date Written / Recorded
2003
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Matthew Barley
Author / Creator
Henry Purcell, 1659-1695, Matthew Barley
Publisher
Black Box
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Venice Preserved
composed by Giovanni Gabrieli, 1553-1612; conducted by Peter Bassano; produced by Martin Compton; performed by Jeremy West, Timothy Roberts, Emily van Evera, Simon Berridge and Susan Hemington-Jones, His Majestys Sagbutts and Cornetts and Gentlemen of the Chappell (Gaudeamus), 1 hour 2 mins
Sample
composed by Giovanni Gabrieli, 1553-1612; conducted by Peter Bassano; produced by Martin Compton; performed by Jeremy West, Timothy Roberts, Emily van Evera, Simon Berridge and Susan Hemington-Jones, His Majestys Sagbutts and Cornetts and Gentlemen of the Chappell (Gaudeamus), 1 hour 2 mins
Date Written / Recorded
1990
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
His Majestys Sagbutts and Cornetts, Gentlemen of the Chappell, Jeremy West, Timothy Roberts, Emily van Evera, Simon Berridge, Susan Hemington-Jones
Contributor
Peter Bassano, Tryggvi Tryggvason, Martin Compton
Author / Creator
Giovanni Gabrieli, 1553-1612, His Majestys Sagbutts and Cornetts, Gentlemen of the Chappell, Jeremy West, Timothy Roberts, Emily van Evera, Simon Berridge, Susan Hemington-Jones
Publisher
Gaudeamus
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