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Concerto Palatino, Bruce Dickey, Charles Toet - Cavalli: Vespero della Beata Vergine Maria (2012)
BAND/ARTIST: Concerto Palatino, Bruce Dickey, Charles Toet
- Title: Cavalli: Vespero della Beata Vergine Maria
- Year Of Release: 2012
- Label: Glossa
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 02:00:35
- Total Size: 483 mb
- WebSite: Album Preview
Tracklist
CD1
01. Vespero della Beata Vergine Maria: Versus: Deus in adiutorium
02. Vespero della Beata Vergine Maria: Responsorium: Domine ad adiuvandum
03. Vespero della Beata Vergine Maria: Antifona: Maria virgo semper letare
04. Vespero della Beata Vergine Maria: Psalmus: Dixit Dominus
05. Vespero della Beata Vergine Maria: Canzon a 3
06. Vespero della Beata Vergine Maria: Antifona: O quam pulchra es
07. Vespero della Beata Vergine Maria: Psalmus: Laudate pueri
08. Vespero della Beata Vergine Maria: Canzon a 4
09. Vespero della Beata Vergine Maria: Antifona: Revertere Sulamitis
10. Vespero della Beata Vergine Maria: Psalmus: Laetatus sum
11. Vespero della Beata Vergine Maria: Sonata a 6
CD2
01. Vespero della Beata Vergine Maria: Antifona: Oculi tui sancta Dei genitrix
02. Vespero della Beata Vergine Maria: Psalmus: Nisi Dominus
03. Vespero della Beata Vergine Maria: Canzon a 8
04. Vespero della Beata Vergine Maria: Antifona: In prole mater in partu virgo
05. Vespero della Beata Vergine Maria: Psalmus: Lauda Ierusalem
06. Vespero della Beata Vergine Maria: Canzon a 10
07. Vespero della Beata Vergine Maria: Hymnus: Ave maris stella
08. Vespero della Beata Vergine Maria: Antifona: Hodie Maria virgo
09. Vespero della Beata Vergine Maria: Magnificat: Magnificat
10. Vespero della Beata Vergine Maria: Sonata a 12
![Concerto Palatino, Bruce Dickey, Charles Toet - Cavalli: Vespero della Beata Vergine Maria (2012)](https://www.dibpic.com/uploads/posts/2020-12/1608739673_concerto-palatino-bruce-dickey-charles-toet-cavalli-vespero-della-beata-vergine-maria-2012-back.jpg)
The operas of Francesco Cavalli have earned him a secure place among the masters of the 17th century, yet he has remained almost completely unknown as a composer of sacred music. While the greater part of his time and energy was undoubtedly devoted to the 32 operas which he produced in Venice, Cavalli nonetheless pursued a constant and parallel career in sacred music which spanned 60 years of activity at St. Mark’s. When Cavalli published the 'Musiche sacre' in 1656 he was at the height of his creative powers and at the apex of his career. As with both Monteverdi’s 1610 collection and his 'Selva morale' of 1640, Cavalli’s 'Musiche sacre' contains components which can be used to fulfil the liturgical requirements of a wide range of feast days.
On this recording Glossa present the principle musical items which could have been heard at second Vespers on a feast of the Virgin Mary (in this case the Feast of the Assumption) either at St. Mark’s or at one of a variety of other Venetian churches. It is no more and no less a single unified musical “work” than are Monteverdi’s 1610 'Vespro della Beata Vergine', nor can it be, since the liturgy has its own formal requirements going far beyond the music.
An expert group of vocal soloists join the instrumentalists of Concerto Palatino in this landmark recording made in the mid nineties which Glossa is now proud to recover for its Schola Cantorum Basiliensis series.
CD1
01. Vespero della Beata Vergine Maria: Versus: Deus in adiutorium
02. Vespero della Beata Vergine Maria: Responsorium: Domine ad adiuvandum
03. Vespero della Beata Vergine Maria: Antifona: Maria virgo semper letare
04. Vespero della Beata Vergine Maria: Psalmus: Dixit Dominus
05. Vespero della Beata Vergine Maria: Canzon a 3
06. Vespero della Beata Vergine Maria: Antifona: O quam pulchra es
07. Vespero della Beata Vergine Maria: Psalmus: Laudate pueri
08. Vespero della Beata Vergine Maria: Canzon a 4
09. Vespero della Beata Vergine Maria: Antifona: Revertere Sulamitis
10. Vespero della Beata Vergine Maria: Psalmus: Laetatus sum
11. Vespero della Beata Vergine Maria: Sonata a 6
CD2
01. Vespero della Beata Vergine Maria: Antifona: Oculi tui sancta Dei genitrix
02. Vespero della Beata Vergine Maria: Psalmus: Nisi Dominus
03. Vespero della Beata Vergine Maria: Canzon a 8
04. Vespero della Beata Vergine Maria: Antifona: In prole mater in partu virgo
05. Vespero della Beata Vergine Maria: Psalmus: Lauda Ierusalem
06. Vespero della Beata Vergine Maria: Canzon a 10
07. Vespero della Beata Vergine Maria: Hymnus: Ave maris stella
08. Vespero della Beata Vergine Maria: Antifona: Hodie Maria virgo
09. Vespero della Beata Vergine Maria: Magnificat: Magnificat
10. Vespero della Beata Vergine Maria: Sonata a 12
![Concerto Palatino, Bruce Dickey, Charles Toet - Cavalli: Vespero della Beata Vergine Maria (2012)](https://www.dibpic.com/uploads/posts/2020-12/1608739673_concerto-palatino-bruce-dickey-charles-toet-cavalli-vespero-della-beata-vergine-maria-2012-back.jpg)
The operas of Francesco Cavalli have earned him a secure place among the masters of the 17th century, yet he has remained almost completely unknown as a composer of sacred music. While the greater part of his time and energy was undoubtedly devoted to the 32 operas which he produced in Venice, Cavalli nonetheless pursued a constant and parallel career in sacred music which spanned 60 years of activity at St. Mark’s. When Cavalli published the 'Musiche sacre' in 1656 he was at the height of his creative powers and at the apex of his career. As with both Monteverdi’s 1610 collection and his 'Selva morale' of 1640, Cavalli’s 'Musiche sacre' contains components which can be used to fulfil the liturgical requirements of a wide range of feast days.
On this recording Glossa present the principle musical items which could have been heard at second Vespers on a feast of the Virgin Mary (in this case the Feast of the Assumption) either at St. Mark’s or at one of a variety of other Venetian churches. It is no more and no less a single unified musical “work” than are Monteverdi’s 1610 'Vespro della Beata Vergine', nor can it be, since the liturgy has its own formal requirements going far beyond the music.
An expert group of vocal soloists join the instrumentalists of Concerto Palatino in this landmark recording made in the mid nineties which Glossa is now proud to recover for its Schola Cantorum Basiliensis series.
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