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Format : 10 CD Digibox
Recording : 1979-2018 Country : Italie/Allemagne/Espagne Sound : Studio/Eglise / Stereo
Label : Brilliant Catalog No. : BRIL96137 EAN : 5028421961378 Price Code : DM046
Publishing Year : 2020 Release Date : 28/10/2020
Genre : Classical
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Chant grégorienAve Maria Ave Maris Stella Salve Regina Guillaume de Machaut (1300-1377)Communio, Regina Mundi Extrait du Laudario de Cortona (Italie, 2ème partie du 13e siècle)Ave, donna santissima Madonna santa Maria Ave Maria, gratïa plena Ave, regina glorïosa O Maria, d'omelia Regina sovrana de gram pïetade O Maria, Dei cella Extrait du Livre vermeil de Montserrat (Catalogne, 16e siècle)Polorum Regina Maria Matrem Virginem Laudemus virginem Splendens ceptigera O virgo splendens Ave maris stella Josquin des Prés (1440-1521)Ave Maria Adrian Willaert (?1490-1562)Ave Maria Nicolas Gombert (1490-1556)Ave Maria a 5 voix Salve Regina (diversi diversa orant) Johannes Ockeghem (1420-1496)Alma Redemptoris Mater Jacob Obrecht (1450-1505)Salve regina à 4 voix Salve regina à 6 voix Hans Leo Hassler (1564-1612)Ave Maris Stella Johann Melchior Gletle (1626-1683)Ave Maria Pierre de La Rue (?1455-1518)Salve Regina V Jacobus Vaet (1529-1567)Salve Regina Robert Parsons (1535-1572)Ave Maria Peter Philips (1560-1628)Salve regina Hodie beata Virgo Maria Guade Maria virgo Alma Redemptoris Mater O Maria Mater Extraits des manuscrits des Cantigas de Santa María (Espagne, 13e siècle)Santa Maria loei, e loo e loarei Virgen Madre groriosa Alonso Lobo (1555-1617)Ave Regina Caelorum Ave Maria Regina Caeli Laetare Juan de Anchieta (1462-1523)Ave sanctissima Maria Tomás Luis de Victoria (?1548-1611)Ave Maria Ave regina coelorum à 8 ave regina coaelorum à 5 Marcos Pérez (?-1662)Salve regina Marc-Antoine Charpentier (1643-1704)Salve Regina à trois choeurs, H 24 Joseph-Hector Fiocco (1703-1741)Ave Maria Giovanni Battista Fasolo (1598-1664)Salve Regina Claudio Merulo (1533-1604)Ave Maria Hodie beata Virgo Maria Girolamo Frescobaldi (1583-1643)Ave Maria Francesco Cavalli (1602-1676)Salve Regina -Ave regina caelorum Alma redemptoris Mater Claudio Monteverdi (1567-1643)Ave maris stella à 8 Salve Regina Salve Regina, extrait du "Selva morale e spiritual" Federico Bardazzi (1962-)Salve Regina del Signor Claudio Monteverdi Salve Regina Ghirlanda Sacra Salva Regina, pour 2 ténors Maurizio Cazzati (1616-1678)Ave Virgo Maria Ave maris stella Ave Regina coelorum Salve Regina Giacomo Carissimi (1605-1674)O Beata virgo Salve virgo Carlo Gesualdo (1566-1613)Ave dulcissima Maria Giovanni Paolo Colonna (1637-1695)Ad novum caeli iubar, GPC 23 Alessandro Melani (1639-1703)Salve superum Regina Alma Redemptoris Salve Mater et Regina Francesca Caccini (1587-?1641)Maria, dolce Maria Regina Caeli Alessandro Scarlatti (1660-1725)Salve Regina Ave Maris Stella Antonio Vivaldi (1678-1741)Salve Regina, RV 617 Francesco Maria Benedetti (1683-1746)Salve Regina Giovanni Battista Pergolesi (1710-1736)Salve Regina en do mineur Georg Friedrich Haendel (1685-1759)Salve Regina, HWV 241 Joseph Haydn (1732-1809)Salve regina en sol mineur, Hob. XXIIIb:2, pour choeur, cordes et orgue seul Salve Regina en mi bémol majeur, Hob. XXIIIb:4, pour choeur en 3 parties, cordes et orgue Wolfgang Amadeus Mozart (1756-1791)Extraits de "Litaniae Lauretanae" en si bémol majeur, K 109 Franz Schubert (1797-1828)Salve Regina en si bémol majeur, D 106 Salve Regina en si bémol majeur, D 386 Ave Maria, D 839 Simon Mayr (1763-1845)Salve Regina en fa majeur, I-BGc 307/2 Ave Regina coelorum en mi bémol majeur, I-BGc 307/10 Felix Mendelssohn Bartholdy (1809-1847)Ave Maria, op. 23/2 Gaetano Donizetti (1797-1848)Ave Maria Johannes Brahms (1833-1897)Ave Maria, op. 12/3 Regina Coeli Marienlieder, op. 22 Charles Gounod (1818-1893)Ave Maria Joseph Guy Ropartz (1864-1955)Ave Maria à 4 voix Giuseppe Verdi (1813-1901)Ave Maria, extrait de "4 pièces sacrées" Anton Bruckner (1824-1896)Ave Maria, WAB 6 Edvard Grieg (1843-1907)Ave maris stella Sergei Rachmaninov (1873-1943)Extraits des "Vêpres", op. 37 Rejoice, O Virgin Thanksgiving to the Mother of God Maurice Duruflé (1902-1986)"Tota pulchra es, Maria", extrait de "4 Motets sur des thèmes grégoriens", op. 10 Francis Poulenc (1899-1963)"Salut, Dame sainte", FP 142 Litanies à la Vierge Noire, FP 82 Salve Regina, FP 110 Arvo Pärt (1935-)Magnificat O Weisheit O Adonai Spross aus Isais Wurzel O Schüssel Davids O Morgenstern O König aller Völker O Immanuel Dominique Vellard, ténor Hervé Lamy, ténor Philippe Balloy, baryton Willem de Waal, baryton Wendy Roobol, soprano Paolo Borgonovo, ténor Arjen Verhage, théorbe Cassandra Luckhart, viola da gambe Krijn Koetsveld, orgue, clavecin CantArte Regensburg Hubert Velten, direction Astrarium Consort Carlo Centemeri, direction Ensemble Il Pegaso Maurizio Croci, orgue, direction Ensemble Eridanus Paolo Giorgi, direction Ensemble Seicentonovecento Flavio Colusso, clavecin, orgue The Choir of Leeds Cathedral Thomas Leech, direction Corydon Singers Matthew Best, direction Ensemble Le Nuove Musiche Krijn Koetsveld, direction The National Academic Choir of Ukraine ‘Dumka’ Yevhen Savchuk, direction
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 Au cours des siècles, les chrétiens ont sans cesse cherché le réconfort auprès de Marie, Sainte Mère de Dieu, en invoquant son aide et sa miséricorde. Dans la liturgie catholique, Marie est honorée par plusieurs hymnes ou antiennes. L’Ave Maria, le Salve Regina ou encore l’Ave Maris Stella en sont les plus symboliques. Nombreux sont les compositeurs qui ont mis ces textes en musique, et cette nouvelle édition signée Brilliant Classics rassemble dans l’ordre chronologique une collection impressionnante d’hymnes à la Vierge. Ainsi, sont compilés ici plus de 800 ans de musique; Des chants grégoriens médiévaux aux premières compositions de Guillaume de Machaut, des polyphonistes flamands (Josquin, Ockeghem, Obrecht, Willaert) aux Maîtres italiens de la fin de la Renaissance (Monteverdi, Frescobaldi, Cavalli, Gesualdo, Caccini), de la période baroque (Vivaldi, Scarlatti, Pergolesi) à Mozart, des grands romantiques (Schubert, Mendelssohn, Liszt, Brahms) jusqu'au 20e siècle avec Poulenc, Duruflé et Arvo Pärt. Les grandes maîtrises vocales du moment (Chœurs du King’s College, Clare College ou St John’s…) servent admirablement ce beau répertoire avec des interprétations puissantes et touchant au divin. Un nouveau recueil de musique sacrée très inspirant de l’éditeur hollandais, infatigable pourvoyeur de riches coffrets bien documentés. A conserver religieusement avec les beaux volumes précédents consacrés aux Requiem (BRIL95104), Stabat Mater (BRIL95370) et autres Magnificat (BRIL95928).  A millennium of Marian motets and antiphons: the most comprehensive collection available of musical prayers to the Virgin. Mary the Blessed Virgin, mother of Christ, has been an object of devotion in music as well as buildings, words and images since the early stirrings of the Christian church in the first and second centuries AD. The music in this box begins with the chants written down by monks during the papacy of Pope Gregory II, and for centuries these supple, joyful chants were passed on from generation to generation of Christians in worship and adoration. With the development of polyphony in the 11th century, these Marian devotions took on further richness. Settings of the Ave Maria and other Marian prayers gradually flower and grow further from the original tree of Gregorian chant. This process is outlined in the box like a piece of slow- motion photography, moving from Guillaume de Machaut through to the Dutch polyphonists of the 15th and 16th centuries such as Ockeghem, Obrecht and Nicolas Gombert, but the vernacular traditions of Marian devotion in Italy and Spain are also represented with excerpts from the Laudario di Cortona and Llibre vermell de Montserrat. The edicts of the Council of Trent in 1566 commanded that sacred music communicate the text clearly above all considerations of aesthetic refinement, and composers across Europe accordingly wrote with greater transparency, less counterpoint and more declamation. Nevertheless, the new style inspired masterpieces such as the Ave Maris Stella of Monteverdi and Gesualdo’s Ave, dulcissima Maria. With instruments increasingly joining voices in sacred music, Marian hymns adopted a concertato style, and the boundaries between the altar and the stage of the new opera houses became increasingly blurred. Settings of prayers such as the Salve Regina settings by Vivaldi and Pergolesi became multi-movement pieces, like a vocal concerto or dance suite, demanding vocal virtuosity from singers practised in soloistic repertoire. Writing in praise of Mary became less of a commission and increasingly driven by personal faith: Haydn wrote his sublime G minor setting of the Salve Regina having promised to dedicate a work to the Virgin after recovering from a serious illness. Many Romantic-era settings of Marian poetry are accordingly infused with a quality of sublimated eroticism, like the Renaissance madrigalists, such as the notable examples by Schubert, Gounod and Brahms. Only in the middle of the 20th century did religiously inclined composers including Durufle and Poulenc return to the chanted origins of prayers such as Tota pulchra es. The collection comes to a radiant, meditative close with the seven Magnificat antiphons by Arvo Pärt, representing the modern revival of religious music in the hands of composers who rebelled against the Modernist revolution. All the performances in the box are modern, digitally recorded versions by acclaimed ensembles such as the Oxford Camerata, the Corydon Singers, Le Concert Spirituel and the Choir of King’s College Cambridge. The booklet includes an essay by Peter Quantrill on the history of Marian devotion in music.

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