Wydawnictwo: Hyperion
Nr katalogowy: CDA 68210
Nośnik: 1 CD
Data wydania: listopad 2017
EAN: 34571282107
Nr katalogowy: CDA 68210
Nośnik: 1 CD
Data wydania: listopad 2017
EAN: 34571282107
Palestrina: Missa Confitebor tibi Domine
Hyperion - CDA 68210
Nagrody i rekomendacje
Utwory na płycie:
Palestrina: Confitebor Tibi Domine- Palestrina: Ricercar Del Sesto Tuono
- Palestrina: Missa Confitebor Tibi Domine - 1. Kyrie
- Palestrina: Canticum Canticorum Salomonis - #12 Introduxit Me Rex
- Palestrina: Missa Confitebor Tibi Domine - 2. Gloria
- Palestrina: Missa Confitebor Tibi Domine - 3. Credo
- Palestrina: Ricercar Del Quinto Tuono
- Palestrina: Missa Confitebor Tibi Domine - 4. Sanctus
- Palestrina: Benedicta Sit Sancta Trinitas
- Palestrina: Missa Confitebor Tibi Domine - 5. Benedictus
- Palestrina: Missa Confitebor Tibi Domine - 6. Agnus Dei
- Palestrina: Loquebantur Variis Linguis
- Palestrina: Magnificat Primi Toni A 8
Confitebor tibi Domine
Ricercar del sesto tuono (organ solo)
Missa Confitebor tibi Domine
Introduxit me rex in cellam
Ricercar del quinto tuono
Benedicta sit sancta Trinitas
Loquebantur variis linguis
Magnificat primi toni a 8
Ricercar del sesto tuono (organ solo)
Missa Confitebor tibi Domine
Introduxit me rex in cellam
Ricercar del quinto tuono
Benedicta sit sancta Trinitas
Loquebantur variis linguis
Magnificat primi toni a 8
Giovanni Perluigi da Palestrina (ok. 1525-1594), wybitny kompozytor włoski epoki renesansu zasłynął w historii muzyki z miana odnowiciela muzyki kościelnej. Choć może on sam nie zgodziłby się z przypisywaną mu rolą. Działał w okresie Soboru Trydenckiego (1545-1563), dla którego jednym z istotnych celów było przywrócenie czytelności muzyce. I rzeczywiście w palestrinowskich mszach a’capella zauważalna jest dbałość o deklamację tekstu, czyste współbrzmienia wynikające z ówczesnej tonalności modalnej. Taki repertuar znajdujemy na prezentowanej płycie - mszę i motet Confitebor tibi Domine, które są przedzielane instrumentalnymi ricercarami. Brzmienie kornetów i organów świetnie urozmaica ten muzyczny krajobraz wokalnej polifonii renesansu. Wykonawcy wprowadzają nas w to bogactwo z wielkim spokojem i majestatem brzmienia tej muzyki. Uspokaja i zachęca.
A journey from twenty-first-century Connecticut to late sixteenth-century Rome: Yale Schola Cantorum presents a programme of quasi-Baroque richness in which Palestrina’s a cappella Mass is imaginatively interpersed with instrumental interludes for cornett and organ.
Taking his surname from the town of Palestrina where he was probably born in 1525, Giovanni Pierluigi trained as a choirboy at St Mary Major in Rome. After a period as organist in Palestrina he was appointed magister cantorum at St Peter’s in 1551. Four years later he spent a short time as a member of the papal choir before Pope Paul IV enforced a rule excluding married men and dismissed Palestrina and two other singers, though with a lifetime pension. He subsequently took charge of the music at St John Lateran and, after a disagreement with the canons there, moved to St Mary Major in 1561. Between 1567 and 1571 he divided his time between the newly opened Roman Seminary and service to Cardinal Ippolito II d’Este. Then, in 1571, he returned to St Peter’s as maestro, remaining there until his death in 1594. In 1572, shortly after that return, Palestrina published his Motettorum liber secundus, 5, 6, 8vv, which included four pieces for eight voices, one of which was Confitebor tibi Domine. The range of musical styles in the print reflected both his varied employments and the changes which resulted from discussions about the appropriateness of contemporary church music at the time of the Council of Trent (which had concluded in 1563). These changes gave greater prominence to the words and their intelligibility to the listener.
Recorded in Christ Church, New Haven, Connecticut, on 10, 12, 14-15 November 2014. Instrumental tracks recorded in the Basilica of San Martino, Bologna, on 23 March 2015
A journey from twenty-first-century Connecticut to late sixteenth-century Rome: Yale Schola Cantorum presents a programme of quasi-Baroque richness in which Palestrina’s a cappella Mass is imaginatively interpersed with instrumental interludes for cornett and organ.
Taking his surname from the town of Palestrina where he was probably born in 1525, Giovanni Pierluigi trained as a choirboy at St Mary Major in Rome. After a period as organist in Palestrina he was appointed magister cantorum at St Peter’s in 1551. Four years later he spent a short time as a member of the papal choir before Pope Paul IV enforced a rule excluding married men and dismissed Palestrina and two other singers, though with a lifetime pension. He subsequently took charge of the music at St John Lateran and, after a disagreement with the canons there, moved to St Mary Major in 1561. Between 1567 and 1571 he divided his time between the newly opened Roman Seminary and service to Cardinal Ippolito II d’Este. Then, in 1571, he returned to St Peter’s as maestro, remaining there until his death in 1594. In 1572, shortly after that return, Palestrina published his Motettorum liber secundus, 5, 6, 8vv, which included four pieces for eight voices, one of which was Confitebor tibi Domine. The range of musical styles in the print reflected both his varied employments and the changes which resulted from discussions about the appropriateness of contemporary church music at the time of the Council of Trent (which had concluded in 1563). These changes gave greater prominence to the words and their intelligibility to the listener.
Recorded in Christ Church, New Haven, Connecticut, on 10, 12, 14-15 November 2014. Instrumental tracks recorded in the Basilica of San Martino, Bologna, on 23 March 2015
Giovanni Perluigi da Palestrina (ok. 1525-1594), wybitny kompozytor włoski epoki renesansu zasłynął w historii muzyki z miana odnowiciela muzyki kościelnej. Choć może on sam nie zgodziłby się z przypisywaną mu rolą. Działał w okresie Soboru Trydenckiego (1545-1563), dla którego jednym z istotnych celów było przywrócenie czytelności muzyce. I rzeczywiście w palestrinowskich mszach a’capella zauważalna jest dbałość o deklamację tekstu, czyste współbrzmienia wynikające z ówczesnej tonalności modalnej. Taki repertuar znajdujemy na prezentowanej płycie - mszę i motet Confitebor tibi Domine, które są przedzielane instrumentalnymi ricercarami. Brzmienie kornetów i organów świetnie urozmaica ten muzyczny krajobraz wokalnej polifonii renesansu. Wykonawcy wprowadzają nas w to bogactwo z wielkim spokojem i majestatem brzmienia tej muzyki. Uspokaja i zachęca.
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