- 1 Aeterna Christi munera et martyrum victorias
- 2 Cantate Domino, SV 293
- 3 I. Kyrie eleison
- 4 II. Christe eleison
- 5 III. Kyrie eleison II
- 6 Beata es, virgo Maria
- 7 IV. Gloria
- 8 Ne avertas faciem tuam a puero tuo
- 9 V. Credo
- 10 Canzon vigesimanona, F 8.54
- 11 VI. Sanctus
- 12 Benedictus qui venit in nomine domini
- 13 Regna terrae
- 14 VII. Agnus Dei
- 15 Magnificat a 16 voci
Meer informatie
In the 17th century, Roman churches were competing to put on the greatest show to celebrate their patron saints. On these occasions, extraordinary services were performed, where many different artists would be brought together, singers and instrumentalists alike, alongside ordinary musicians, for sumptuous pieces performed by several vocal and instrumental choirs. One contemporary description gives an idea of the scale: ten choirs and ensembles played together, two on fixed stages, and eight others distributed symmetrically right along the nave, on platforms built for the occasion. Every additional stage was provided with a positive organ, while many other instruments added to the sonic splendour. So that all the musicians could play well together in spite of the distance, "capi di coro” or time-keeping drummers, would play in unison. Orazio Benevolo (1605-1672) was one of the most remarkable architects of these extravagant, multi-choral monuments. Benevolo was a choirboy at the Church of St. Louis of the French in Rome before he entered the upper echelons by taking the job of Chapel Master in 1638. The composer has left behind him an abundant set of works, containing no fewer than 34 motets for a range of players, including Regna terrae, written for twelve soprano parts distributed across six vocal choirs, each with its own basso continuo. We are also indebted to him for twelve versions of the Magnificat, for between eight and 24 voices, including one for 16 voices, in quadruple choir, which appears here. Hervé Niquet and his Concert Spirituel have made use of the ample acoustics in the Notre-Dame-du-Liban church in Paris, perfectly structured to hold several choirs distributed across the building, to create the sensations of immersion and spatial plenitude that the composer aimed for. © SM/Qobuz
Hi-Res 24-bits – 88.20 kHz
Details over de originele opname:
Recorded February 2018 in Eglise Notre Dame du Liban, Paris (France)Ontdekken
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