Wydawnictwo: Delphian
Nr katalogowy: DCD 34215
Nośnik: 1 CD
Data wydania: lipiec 2018
EAN: 801918342158
Nr katalogowy: DCD 34215
Nośnik: 1 CD
Data wydania: lipiec 2018
EAN: 801918342158
Nasze kategorie wyszukiwania
Epoka muzyczna: barok, renesans, współczesna
Obszar (język): włoski, angielski (Szkocja)
Rodzaj: stabat mater, miserere
Epoka muzyczna: barok, renesans, współczesna
Obszar (język): włoski, angielski (Szkocja)
Rodzaj: stabat mater, miserere
Palestrina / Allegri / Macmillan: In Sorrow’s Footsteps
Delphian - DCD 34215
Kompozytor
Giovanni Pierluigi da Palestrina (1525/6-1594)
Gregorio Allegri (1582-1652)
James Macmillan (ur. 1959)
Gabriel Jackson
Giovanni Pierluigi da Palestrina (1525/6-1594)
Gregorio Allegri (1582-1652)
James Macmillan (ur. 1959)
Gabriel Jackson
Utwory na płycie:
Gabriel Jackson:
Stabat Mater
Giovanni Pierluigi da Palestrina:
Super flumina Babylonis
Stabat Mater
Ave Maria
Gregorio Allegri:
Miserere
James MacMillan:
Miserere
Stabat Mater
Giovanni Pierluigi da Palestrina:
Super flumina Babylonis
Stabat Mater
Ave Maria
Gregorio Allegri:
Miserere
James MacMillan:
Miserere
Celebrating its tenth anniversary with its tenth recording on Delphian, The Marian Consort plays to its twin strengths in a lovingly conceived programme coupling two pillars of Renaissance polyphony with twenty-firstcentury settings of the same texts, including a newly commissioned Stabat Mater by Gabriel Jackson.
A range of subplots – Palestrina’s influence on Wagner, Charles Burney’s collecting of Allegri and Palestrina – make this truly a story of interconnections: a path on which the present’s footsteps constantly overlay the past’s. At the centre is Allegri’s Miserere, whose convoluted reception history itself becomes part of the story and whose performance here fully exploits the worldfamous acoustic of Merton College’s chapel.
A range of subplots – Palestrina’s influence on Wagner, Charles Burney’s collecting of Allegri and Palestrina – make this truly a story of interconnections: a path on which the present’s footsteps constantly overlay the past’s. At the centre is Allegri’s Miserere, whose convoluted reception history itself becomes part of the story and whose performance here fully exploits the worldfamous acoustic of Merton College’s chapel.