|1. Salve regina: Salve Regina, Mater Misericordiae|
|2. Salve regina: Ad Te Clamamus Exules, Filii Hevae|
|3. Salve regina: Nobis Post Hoc Exilium Ostende|
|4. Salve regina: O Clemens, O Pia|
|5. Cantata Su Le Sponde Del Tebro: Sinfonia|
|6. Cantata Su Le Sponde Del Tebro: Recitativo Su Le Sponde Del Tebro|
|7. Cantata Su Le Sponde Del Tebro: Sinfonia-Aria Contentatevi, O Fidi Pensieri|
|8. Cantata Su Le Sponde Del Tebro: Recitativo Mesto, Stanco, E Spirante Dal Duol' Che L' Opprimea|
|9. Cantata Su Le Sponde Del Tebro: Largo Infelici|
|10. Cantata Su Le Sponde Del Tebro: Aria Dite Almeno, Astri Crudeli|
|11. Cantata Su Le Sponde Del Tebro: Recitativo All' Aura, Al Cielo, Ai Venti|
|12. Cantata Su Le Sponde Del Tebro: Aria Tralascia Pur Di Piangere, Povero Afflitto Cor|
|13. Salve regina: Salve Rgina, Mater Misericordiae|
|14. Salve regina: Ad Te Clamamus Exules, Filii Hevae|
|15. Salve regina: Eia Ergo Advocata Nostra Illos Tuos|
|16. Salve regina: Et Jesum, Benedictum Fructum Ventris Tui|
|17. Cantata Infirmata Vulnerata: Aria Infirmata Vulnerata Puro Deficit Amore|
|18. Cantata Infirmata Vulnerata: Recitativo O Care, O Dulcis Amore|
|19. Cantata Infirmata Vulnerata: Aria Vulnera Percute, TAransfige Cor|
|20. Cantata Infirmata Vulnerata: Aria Cur, Quaeso, Crudelis Es Factus|
See all 29 tracks on this disc
In the eighteenth century, the cantata was considered to be the supreme test of a composer's artistry. On this disc, three fine examples by Alessandro Scarlatti are joined by settings of the Salve regina by Domenico Scarlatti (Alessandro's sixth son) and Johann Adolf Hasse (a pupil). The work by Hasse is distinctly operatic with florid vocal and instrumental lines, and the younger Scarlatti similarly finds himself drawn away from religious deference to a more flamboyant style.
Most Helpful Customer Reviews on Amazon.com (beta)
Domenico Scarlatti's (1685-1757), the sixth son of Alessandro, reputation rests mainly on his enormous output, amounting to some 550 sonatas. Most of his fifteen known operas are lost, as are the majority of his oratorios and cantatas. In his sacred music Domenico shows elements of harmonic richness and melodic individuality but the main features of his settings of emotive texts are tuneful melodies which mix relgious deference with occasional elements of opera, well demonstrated in this fine setting of 'Salve Regina'.
Alessandro (1660-1725) with his more than six hundred cantatas, the majority of which are for solo voice with only continuo for accompaniment, has established himself by far the most prolific composer of cantatas of this era. Contemporary trends have moved towards the addition of instrumental accompaniments; usually strings and obbligato instruments in a high tessitura as demonstrated by the trumpet in his cantata 'Su le sponde del Tebro'.
Johann Adolf Hasse (1699-1783), has a huge compositional output that includes at least thirteen settings of the 'Salve Regina' (I REALLY LIKE THIS ONE.) Its style is distinctly operatic, mixing an attractive simplicity of melody with florid instrumental and vocal lines which are eminently suited to the voice.
The performance of these works under the capable direction of Robert King is flawless. For the listener what remains is whether the music and the individual performances are to your liking. James Bowman, countertenor, is an expericenced and skilled interpreter of what he sings. However, his diction sounds a bit unclear at times due to his overpowering and somewhat 'foggy' vocal quality. He is not MY favorite countertenor, but his delivery cannot be questioned; it is always correct. Moreover, he is considered by many to be one of the great singers from the U.k.
Deborah York, soprano, sings very well indeed with a pleasantly smooth sound and good diction that makes for an all-around solid performance. AND Crispian Steele-Perkens with his virtuoso trumpet playing, in which he soars effortlessly into the stratosphere, adds tremendously to this recording.
BBC MUSIC MAGAZINE: "Congratulations to Hyperion on imaginative programming of repertoire, some not otherwise available on disc. Highly recommended...for repeated enjoyable listening."
AMERICAN RECORD GUIDE: "This is exemplary. If you want an introduction to vocal writing in compact forms in early 18th century Italy, this is ideal."
The disc is accompanied by a booklet that includes pertinent information in English, French and German; text included translated to English.
Domenico Scarlatti's (1685-1757) reputation today rests mainly on his enormous output of keyboard music. Most of his 15 known operas are lost, as are the majority of his oratorios and cantatas. Most of Domenico's sacred compositions date from 1713-1719, whilst he was 'Maestro di Cappella at the Basilica Guilia in Rome.
In his sacred music he showed elements of harmonic richness and melodic individuality, but the main features of his settings of emotive sacred texts are tuneful melodies mixed with occasional elements of the opera. His 'Salve Regina' displays such elegance of line and rich harmony combined with an operatic style.
Alessandro Scalatti (1660-1725), the father of Domenico. wrote more than 600 cantatas, and established himself as by far the most prolific cantata composer of his era. Most of his cantatas are for solo voice, usually with only continuo for accompaniment, but in his last 60 cantatas he added strings, and sometimes recorders and trumpets. There are three that appear on this disc dating around 1744. They are:'Cantata Su le sponde del Tebro '(On the Banks of the Tiber)- 'Cantata Infirmata vulnerata' (Weak and wounded for want of Pure Love)-and 'Cantata O di Betlemme altera' (O noble and unfortunate poverty of Bethlehem).
Johann Adolf Hasse (1699-1783) was extremely popular both in Germany (where he studied with Alessandro Scarlatti) and Italy. His principal employment in his early years was as a tenor with the Hamburg Opera, which may account for the lyrical style in which he wrote. Amongst a huge compositional output there are at least 13 settings of the 'Salve Regina' attrlibuted to Hasse. The one on this disc is considered to be the most popular; it is dated 1744. His style is distinctly operatic, mixing an attractive simplicity of melody with florid instrumental and vocal lines eminently suited to the voice.
James Bowman, countertenor, is a very capable interpreter of most of the music he sings. His diction can sound s bit unclear at times due to the overpowering and somewhat 'foggy' sound of his voice. He's not MY favorite countertenor, but his delivery cannot be questioned; it is always quite correct and he is considered to be one of the great singers from the UK.
Deborah York, soprano, sings very well indeed; nice tone quality, excellent diction; all-around good performance. And the trumpet player soaring around on the high notes in the first Scarlatti cantata on the disc was phenominal.
My favorite is the Hasse 'Salve Regina', perhaps because it is more dramatic and exciting to hear; but in truth the entire disc is quality throughout.
Look for similar items by category
- Music > Classical > Chamber Music > By Period
- Music > Classical > Historical Periods > Baroque (c.1600-1750)
- Music > Classical > Historical Periods > Classical (c.1770-1830)
- Music > Classical > Sacred & Religious > Oratorios
- Music > Opera & Vocal > Vocal Non-Opera > Motets
- Music > Opera & Vocal > Vocal Non-Opera > Oratorios
- Music > Pop > Vocal Pop