Cardoso - Requiem 2019

К сравнению
В избранное
Артикул:9156079
Музыка
Cardoso - Requiem 2019
Количество CD
Тип упаковки
Вес
Формат
Дополнительные услуги:
В наличии
250
11
Доставка по России
On-line оплата
Система скидок
Всегда на связи
Описание
Характеристики
Отзывы
Cardoso - Requiem

Жанр: Classical sacred
Страна-производитель диска: Made in England
Год издания диска: 2019
Издатель (лейбл): Hyperion
Номер по каталогу: CDA68252
Дата записи: 2016
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:09:25
Источник: релизер
-источник/ник/другое: Roy Movrich, подарок; Caterina Sforza - доп. сканы (cue не трогал)
: да, авторские сканы tif и jpeg + web pdf буклет
Треклист:

1. Vau. Et egressus est a filia Sion - Cupertinos; Luis Toscano

2. In monte Oliveti - Cupertinos; Luis Toscano; Almeno Goncalves

3. Tristis est anima mea - Cupertinos; Luis Toscano

4. I. Introitus - Cupertinos; Luis Toscano; Gabriela Braga Simöes

5. II. Kyrie - Toscano,Luis/Cupertinos

6. III. Graduale - Toscano,Luis/Cupertinos

7. IV. Offertorium - Toscano,Luis/Cupertinos

8. V. Sanctus and Benedictus - Toscano,Luis/Cupertinos

9. VI. Agnus Dei - Toscano,Luis/Cupertinos

10. VII. Communio - Toscano,Luis/Cupertinos

11. Domine, tu mihi lavas pedes? - Cupertinos; Luis Toscano

12. Magnificat secundi toni a 4 - Cupertinos; Luis Toscano; Eva Braga Simöes

13. Amen dico vobis - Cupertinos; Luis Toscano

14. Cum audisset Johannes - Cupertinos; Luis Toscano

15. Ipse est qui post me - Cupertinos; Luis Toscano

16. Omnis vallis - Cupertinos; Luis Toscano

17. Quid hic statis? - Cupertinos; Luis Toscano

18. Tua est potentia - Cupertinos; Luis Toscano

19. Sitivit anima mea - Cupertinos; Luis Toscano

Исполнители

Manuel Cardoso (1566-1650)
Lamentations for Maundy Thursday
Missa pro defunctis a 4
Domine, tu mihi lavas pedes
Magnificat secundi toni a 4
Amen dico vobis
Cum audisset Johannes
Ipse est qui post me
Omni vallis
Quid hic statis
Tue est potentia
Sitvit anima mea
[u]Cupertinos[/u]
DIRECTOR: Luís Toscano
Recording Date: September 21, 2016 - September 23, 2016
Recording Location: Basílica do Bom Jesus, Braga, Portugal
Release Date: 28th Dec 2018
Release Date: January 4, 2019

Review

AllMusic Review by Blair Sanderson [-]
Even though Portuguese composer Manuel Cardoso lived well into the early Baroque era, his music was informed by the older Renaissance polyphony of Palestrina, and despite the dramatic stylistic changes that developed elsewhere in Europe, his works remained rather conservative and representative of the church music of the Counter-Reformation. Like his older Spanish contemporary Tomás Luis de Victoria, Cardoso's best-known work is his Requiem (Missa pro defunctis a 4), which is perhaps the most frequently performed of his surviving compositions, which were published in five volumes in Lisbon between 1613 and 1648. Among Cardoso's other unaccompanied choral works on this 2018 Hyperion release by the eight-member vocal ensemble Cupertinos, directed by Luís Toscano, are the Lamentations for Maundy Thursday, the Magnificat secundi toni a 4, and several motets that were dedicated to Cardoso's patron, King João IV and arranged in publication according to the ecclesiastical year. The sound of Cupertinos' performances alternates between chaste purity and vibrant richness, due to the shifting textures of the counterpoint, written for 4 and sometimes 6 voices, and the highly resonant acoustics of the Basílica do Bom Jesus in Braga, Portugal produce sustained reverberations that can be heard after cadences. This is a lovely album of Cardoso's music, which is becoming much better known, thanks to the attention paid by several excellent choirs, of which Cupertinos must be counted among the finest. Highly recommended.

Review

The empire of Portugal reached its zenith in the middle of the sixteenth century. Over the preceding hundred years, under the rule of Manuel I and João III, its seafaring explorers had established a network of colonies and trading posts across four continents. This maritime dominance brought goods, peoples and cultures back to Europe to feed a burgeoning cosmopolitan society. This carried through into the arts, as the powerful and wealthy dynasties of Europe competed for the prestige of bringing the finest artists and musicians into the employ of their private courts. The new demand for musicians, coupled with the advent of music printing, gave rise to a network of centres for publishing and patronage, attracting musicians from across the continent, and thus bringing an unprecedented influx and exchange of influential music, ideas and musicians from Renaissance Europe to the Iberian peninsula.
When Philip II of Spain, from the house of Habsburg, inherited the Portuguese crown in 1580, it heralded the beginning of the Idade de Ouro-a ‘golden age’ for Portuguese music, marked by the emergence of a group of first-rate composers such as Pedro de Cristo (c1550-1618), Duarte Lôbo (c1565-1646), Filipe de Magalhães (c1571-1652) and Manuel Cardoso (1566-1650).
Baptized in Fronteira, Cardoso studied music as a choirboy at the prestigious Évora Cathedral before moving to Lisbon in 1588 to join the Carmelite order as organist and mestre de capela at the Convento do Carmo, a position he held for six decades. Cardoso was praised throughout his lifetime for his devoutness and musical ability, integrating old and new elements to create a highly individual and expressive style. This is most apparent in his devotional music, which sets some of the most dramatic texts within the liturgy. His surviving oeuvre consists of five volumes of unaccompanied sacred choral music which were published in Lisbon between 1613 and 1648.
The first, the Cantica Beatae Mariae Virginis, quaternis et quinis vocibus, is a collection of settings of the Magnificat (or Canticle of Mary), which comes at the heart of the daily Office of Vespers. As was common practice for the era, verses intoned to the plainchant psalm tone alternate with verses of polyphony; each of the eight psalm tones is given a four-voice and a five-voice setting. The Magnificat secundi toni on this recording is an alternatim setting with the even verses set to plainchant and the odd verses in four-part polyphony-with the exception of the verse beginning ‘Et misericordia’, where the texture reduces to three voices, as was tradition. Cardoso also uses the second tone as the basis for his polyphonic invention, setting the chant melody as a long-note cantus firmus in the upper two voices, a structural foundation to be elaborated upon by the lower parts.
In Cardoso’s second book, the Missae quaternis, quinis, et sex vocibus. Liber primus from 1625, he integrates two of the most prominent stylistic influences in Renaissance church music: the parody Mass and Giovanni Pierluigi da Palestrina. It contains five Mass settings which use motets by Palestrina as the model for polyphonic elaboration-‘parodying’ these gems of Renaissance polyphony, which Cardoso had doubtless studied, as a tribute to the Italian master. The volume bears a dedication to Cardoso’s patron the Duke of Braganza, who would later become João IV of Portugal when the country regained independence from Spain in 1640 (King João was himself a capable musician and composer). Also included within this book is the six-voice motet Sitivit anima mea, one of Cardoso’s best-known and most widely performed works. Alongside the dedication to the future king, the text longing for freedom and anticipating the coming of the Saviour invites interpretation as one of many more or less veiled calls for Portuguese independence which permeate the music of the Idade de Ouro.
The majority of the pieces on this recording are preserved in the Livro de varios motetes, officio da semana santa e outras cousas, published in 1648 and again dedicated to King João IV, by then in the eighth year of his reign. It is in these works that Cardoso leaves the clearest fingerprints of his personal style, often choosing to use uncommon texts with highly dramatic or descriptive passages, placing great emphasis on the relationship between the music and its text. In the book’s dedication, Cardoso attests to its status as the model of his compositional style, saying: ‘I must confess that this book, being the child of my old age, is dearest to me.’
Характеристики
Количество CD
Тип упаковки
Вес
Формат
Отзывов ещё нет — ваш может стать первым.
Все отзывы 0
общий рейтинг
Похожие товары
Видео_(музыка)
Владимир Мартынов - Regio Opus Post
Владимир Мартынов - Regio Opus Post
4.2
Отзывов ещё нет
300
В наличии
Видео_(музыка)
Новогодняя ночь с Владимиром Спиваковым
Новогодняя ночь с Владимиром Спиваковым
4.3
Отзывов ещё нет
300
В наличии
Видео_(музыка)
Большой Пасхальный концерт
Большой Пасхальный концерт
4.1
Отзывов ещё нет
300
В наличии
Видео_(музыка)
Крещенские вечера
Крещенские вечера
4.2
Отзывов ещё нет
300
В наличии
Видео_(музыка)
Unici : IL VOLO - Tre come noi
Unici : IL VOLO - Tre come noi
5.0
Отзывов ещё нет
400
В наличии
C этим товаром также покупают
Видео_(музыка)
Моцарт - Реквием / Mozart - Requiem Mass in D minor K. 626 - (Karl Bohm, 1971, Vienna)
Видео_(музыка)
Brahms - Violin Concerto in D major. Bartok - Romanian Folk Dances. Ravel - Tzigane, etc EMI Classic Archive
Brahms - Violin Concerto in D major. Bartok - Romanian Folk Dances. Ravel - Tzigane, etc EMI Classic Archive
4.1
Отзывов ещё нет
400
В наличии
Видео_(музыка)
Бах - Сюиты для виолончели №1,2,3/Bach - Cello Suites №1,2,3
Видео_(музыка)
Чайковский - La Roque d'Antheron - Les Pianos De La Nuit
Видео_(музыка)
Wang Yameng, Su Meng - Guitar Concert in Korea
Wang Yameng, Su Meng - Guitar Concert in Korea
300
В наличии