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Monteverdi, Gabrieli : Célébrations de Pâques à la Basilique St. Marc, Venise 1600. Betti, Mini, Bardazzi.
Format : 1 CD
Durée totale : 01:03:09

Enregistrement : 01/04/2017
Lieu : Firenze
Pays : Italie

Label : Brilliant Classics
Référence : BRIL95747
EAN : 5028421957470
Code Prix : DM009A

Année d'édition : 2018

Genre : Classique
Giovanni Gabrieli (1554-1612)
Toccata del Secondo Tono, Ch 236
Introitus Resurrexi et adhuc tecum sum
Canzon I "La Spiritata", Ch 186
Canzona II a 4
Canzona III a 4
"Paolo Cima Sonata"
Offertorium Terra tremuit
Ricercar Noni Toni, Ch.226

Claudio Monteverdi (1567-1643)
Kyrie
Gloria
Credo
Sanctus
Agnus Dei
Graduale Haec dies es quam fecit Dominus
Laudate Dominum
Alleluia Pascha nostrum immmolatus est Christus
Sequentia Victimae Paschali laudes
CommunioPascha nostrum immmolatus est Christus
Cantate Domino
Ave Maris Stella

Dimitri Betti, orgue
Elisabetta Braschi, soprano
Elisabetta Caruso, soprano
Sumiko Okawa, soprano
Simone Emili, ténor
Kentaro Kitaya, ténor
Ensemble Capriccio Armonico
Gianni Mini, direction
Ensemble San Felice
Federico Bardazzi, direction

Any listener who has heard the punchy, rousing and original account of Monteverdi’s Vespers released in 2016 by these forces on Brilliant Classics (BC95188) will be keen to hear music from the same source performed with similar vitality and attention to historical detail. Federico Bardazzi duly obliges with this recreation of Easter at the Basilica San Marco, around the year 1600. Chants alternate with spectacular, antiphonal toccatas and canzonas which bounce off the walls of the generous church acoustic, as well as a slight but still exuberant sonata by Giovanni Paolo Cima. Enclosed within are the separate movements of the four-part Mass by Monteverdi, and the liturgical reconstruction concludes with a setting of the Ave maris stella which, like the Mass, is to be found in Monteverdi’s collection of Selva morale e spirituale, no less treasurable in its way than the betterknown Vespers compilation. Indeed the Selva morale dates from several decades later in Monteverdi’s output and reflects an even greater harmonic refinement: the linear polyphony of the Mass obeys the rules of the stile antico, while the psalm settings and hymns such as Laudate Dominum and Cantate Domino belong to the more sectional and vividly illustrative style of the seconda pratica which became particularly associated in his work and that of his successors with the secular madrigal. In his booklet note, Bardazzi notes that Monteverdi would have expected to perform this music with a mixed-voice choir; the male-only ensemble is a late- 19th-century practice. His lively tempi and instrumental arrangements, switching between basso continuo and colla parte instruments, are intended ‘to allow Monteverdi’s creative genius and originality to permeate the strict counterpoint.’

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