Domenico Scarlatti: Stabat Mater; Salve Regina

1. Stabat Mater, for double chorus & continuo in C minor
Composed by Domenico Scarlatti
with Timothy Byram-Wigfield , Chi-chi Nwanoku , Anthony Pleeth
Conducted by Francis Grier

2. Sonata for keyboard in D major, K. 288 (L. 57)
Composed by Domenico Scarlatti
with Francis Grier
Conducted by Francis Grier

3. Sonata for keyboard in G major, K. 328 (L. S27)
Composed by Domenico Scarlatti
with Francis Grier
Conducted by Francis Grier

4. Sonata for keyboard in C minor, K. 254 (L. 219)
Composed by Domenico Scarlatti
with Francis Grier
Conducted by Francis Grier

5. Sonata for keyboard in D major, K. 287 (L. S9)
Composed by Domenico Scarlatti
with Francis Grier
Conducted by Francis Grier

6. Sonata for keyboard in C major, K. 255 (L. 439)
Composed by Domenico Scarlatti
with Francis Grier
Conducted by Francis Grier

7. Salve Regina, motet for soprano, alto & organ in A minor
Composed by Domenico Scarlatti
with Timothy Byram-Wigfield , Nicholas Clapton , Charles [treble] Harris
Conducted by Francis Grier

Tracks:

Allegro Molto
Andante
Allegro
Salve Regina
Ad Te Clamamus (Andante)/Exsules Filii Evae (Grave)
Ad Te Suspiramus (Adagio)
Eja Ergo (Andante)
Nobis Post Hoc Exsilium Ostende
O Clemens (Adagio)
Amen (Allegro)
Adagio
Allegro
Adagio
Allegro Affettuoso
Stabat Mater Dolorosa (Largo)
Cujus Animam Gementem (Adagio)
O Quam Tristis (Andante)
Quis Est Homo (Largo)
Quis Non Posset (Adagio)
Pro Peccatis Suae Gentis (Andante)
Eja Mater, Fons Amoris (Largo)
Fac Ut Ardeat (Lento)
Amen (Allegro)
Allegro Molto
Andante Molto
Allegro

Customer Reviews:

Nice Baroque Team of Vivaldi-Scarlatti.......2005-12-06

Lamon and the infamous Tafelmusik Orchestra recorded this interesting program of Contralto works by Vivaldi and Scarlatti as well as Scarlatti string concerto work via Avison's transcription and rearranging Scarlatti's Concerto No. 7.

This results in exquisite baroque disc, starring Contralto Lemieux, who displays passionate and resonant performance in the Salve Regina and Stabat Mater offerings.

An Emerging Contralto Phenomenon: Marie-Nicole Lemieux.......2003-11-13

This is a nicely put together program of high Baroque music with music by Avison, Vivaldi and Domenico Scarlatti. It features that wonderful Canadian baroque orchestra, Tafelmusik, conducted by their music director, Jeanne Lamon. But, best of all, it has two extended pieces for contralto and orchestra that give prominence to a new, to me, and evidently rather young contralto, Marie-Nicole Lemieux, who has me thinking of that other Canadian contralto, Maureen Forrester, who also sang baroque music exquisitely in her day.

First is a brief Sinfonia in G for Strings (RV. 149) by Vivaldi acting as an overture leading us into the seven-movement 'Salva Regina' of Domenico Scarlatti. We don't ordinarily think of Domenico in connection with vocal music; it's usually his father, Alessandro, whose music we hear. But the younger man certainly could write for the voice. Lemieux has a noble sound and plenty of flexibility for this simple, yet baroquely florid, music, and she sings the imploring text, appropriate for Pentecost, with feeling. 'Ad te clamamus' ('To thee we cry') with the following 'Ad te suspiramus' ('To thee we offer our sighs') are moving.

The orchestra follows with Charles Avison's Concerto in G Minor, a string orchestra setting he made of four of Domenico Scarlatti's 'Essercizi per Gravicembalo' (or, as we usually call them in English, 'Sonatas,' that group of 555 masterpieces so beloved by us keyboard players). Avison's arrangement and this performance convey the sonatas' 'ingenious jesting with art,' the phrase Scarlatti used to describe them. There is some luscious solo violin playing here, almost certainly that of Mme Lamon herself.

Next is Vivaldi's well-known nine-movement 'Stabat Mater' for contralto, strings and continuo. (This is as good a place as any to praise the solid continuo harpsichord/organ playing of Olivier Fortin; in this piece he provides the subtle but immensely important organ underpinning.) An early work, it shows Vivaldi's already notable skill at mood-setting. The first section of the poem, depicting the Virgin weeping at the foot of the Cross as her Son is crucified, with its sobbing strings and imploring vocal line, is utterly effective, especially with Mlle Lemieux's artful singing. Similarly effective is the 'Quis est homo qui non fleret' ('What man would not weep') section. [A recent recording with countertenor David Daniels cannot compete with this. I do, however, remember a performance with Janet Baker that may have been superior to this--not recorded by her as far as I know--that reduced me to tears.] The final 'Fac, ut ardeat' ('Make my heart burn') and 'Amen' are a worthy conclusion to this ardent performance. A triumph for all concerned.

The program, constructed much like an actual concert might have been, concludes with Vivaldi's Concerto for Strings in A Major, RV. 158, which lightens the mood set by the tragic 'Stabat Mater.' The precision, ensemble and spirit of the Tafelmusik strings is worthy of praise.

A hearty recommendation.

TT= 57:37

Tracks:

Overture To King Arthur (Slow)
'Open Up'
Overture To King Arthur (Fast)
'Frances, Edward, Thank Goodness...'
Trumpet Tune From King Arthur
'Queen Anne Swept...'
'Let The Soldiers Rejoice' From Dioclesian
Cello Secret Tune
Violin Secret Tuen
'Triumphing Dance' From Dido And Aeneas
'Edward, Where Are You?...'
'Tempeste' From Alcione
'Largo' From Concerto Grosso In F Major, Op.6 No.6
'Allegro' From Concerto Grosso In F Major, Op.6 No.6
'Frances And Edward Were Surrounded...'
'Allegro' From Concerto For 2 Cellos In G Minor
'Finally-We've Left'
'He Began The Rehearsal'
'Allegro' From Concerto For 2 Violins In A Minor, Op.3 No.8
'Larghetto E Spiritoso' From Concerto For 2 Violins In A Minor, Op.3 No.8
'Allegro' From Concerto For 2 Violins In A Minor Op.3 No.8
'Edward Felt The Air Outside...'
S'En Va-T'En Guerre
Overture To Alcione
'When Frances Arrived...'
Sarabande
Entree: Royal March
'The Musicians Filed Into The Room...'
Tambourins, From Alcione
Air From Alcione
Bourree From Alcione
Loure From Alcione
'Entree' From Premiere Suite D'Orchestre
'Frances Was Signaling...'
Gigue From Alcione
'The Horses Came...'
'Frances, Where Are You...'
Trumpet Tune From King Arthur
'When They Arrived In London...'
'Let The Soldiers Rejoice' From Dioclesian

Tracks:

Ouverture Du Roi Arthur (Lent)
'Au Nom De La Reine, Ouvrez!'
Ouverture Du Roi Arthur (Rapide)
'Frances Edward, Dieu Merci...'
Air De Trompette Extrait De King Arthur
'Majestueuse Dans Sa Robe...'
'Let The Soldiers Rejoice' From Dioclesian
Melodie Secrette Jouee Au Violoncelle
Melodie Secrete Jouee Au Violon
Danse Triomphante, Extrait De Dido And Aeneas
'Edward, ou Es-Tu?...'
'Tempete' Extrait De Alcione
'Lergo' Extrait Du Concerto Grosso En Fa Majeur, Op.6 No.6
'Allegro' Extrait Du Concerto Grosso En Fa Majeur, Op.6 No.6
'Frances Et Edward Se Retrouverent...'
'Largo' Extrait Du Concerto Pour Deux Violoncelles En Sol Mineur
'Enfin, Nous L'Avons...'
itre Commenca La Repetition'
'Allegro' Extrait Du Concerto En La Mineur Pour Deux Violons, Op.3 No.8
'Larghetto E Spiritoso' Extrait Du Concerto En La Mineur Pour Deux Violons, Op.3 No.8
'Allegro' Extrait Du Concerto En La Mineur Pour Deux Violons, Op.3 No.8
'On Les Hissa Au Sommet...'
S'En Va-T'En Guerre
Ouverture D'Alcione
'Apres Avoir Voyage...'
Sarabande
Entree: Marche Royale
'Les Musiciens Defilerent...'
Tambourins, Extrait D'Alcione
Gigue D'Alcione
Bouree From Alcione
Loure From Alcione
Entree Extrait De La Premiere Suite D'Orchestre
'De Son Archet...'
Gigue D'Alcione
'Les Chevaux...'
'Edward Crut Reconnaitre...'
Air De Triompette Extrait De King Arthur
'De Retour Au Bercail...'
'Let The Soldiers Rejoice' Extrait De Dioclesian

Tracks:

Son Attaque Des Moulins A Vent - Jeanne Lamon
Aria 'Tormani A Vagheggiar' - Jeanne Lamon
Aria 'Se Giunge Un Dispetto' - Jeanne Lamon
Air - Jeanne Lamon
Gavotte I & II - Jeanne Lamon
Aria 'Heute Noch' - Jeanne Lamon
Trio 'Die Katze Lasst Das Mausennicht' - Jeanne Lamon
Aria 'Hat Man Nicht Mit Seinen Kindern' - Jeanne Lamon
Adagio - Jeanne Lamon
Presto - Jeanne Lamon
Ouverture - Jeanne Lamon
Quis Est Homo (Largo) - Jeanne Lamon
Salve Regina - Jeanne Lamon
Amen 1 - Jeanne Lamon
Allegro (Mouvement 1) - Jeanne Lamon
Allegro (Mouvement 3) - Jeanne Lamon

Average customer rating:

Perfect for Someone New to Classical Music

Baroque Delights

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00014M2RE
Release Date: 2007-04-03

Tracks:

Son Attaque Des Moulins A Vent
Aria 'Tornami A Vagheggiar'
Aria 'Se Giunge Un Dispetto'
Air
Gavotte I & II
Aria 'Hat Man Nicht Mit Seinen Kindern'
Aria 'Heute Noch'
Trio 'Die Katze Lasst Das Mausen Nicht
Adagio
Presto
Ouverture
Quis Est Homo (Largo)
Amen
Salve Regina
Allegro (1)
Allegro (3)

Customer Reviews:

Perfect for Someone New to Classical Music.......2004-02-28

Tafelmusik, Canada's foremost ensemble specializing in baroque music, is celebrating its 25th anniversary with this release of highlights from some of their previous CDs. Founded in 1979, its direction was taken over in 1981 by the redoubtable Jeanne Lamon who remains its director, and she conducts all these selections. This CD would certainly serve as a more than adequate introduction both to the work of Tafelmusik and to music from the Baroque Era.

The playlist consists of selections from larger works. For instance, there are two soprano arias from Handel operas sung to perfection by Karina Gauvin. The newly emerging Canadian contralto Marie-Nicole Lemieux sings Domenico Scarlatti's 'Salve Regina' and an aria from Vivaldi's 'Stabat Mater.' There are two selections (Air for the G String and Gavottes I & II) from Bach's Third Orchestral Suite. Proof of Bach's ability to write 'light' music is contained in the charming performances of two arias and the trio from his 'Coffee Cantata.' John Abberger, oboist, plays two movements from Benedetto Marcello's Oboe Concerto in D Minor. And there is much more, as listed above.

The playing here is delectable. I am a long-time admirer of Tafelmusik's work and feel that each of these selections shows them at their best.

This CD would make a wonderful gift for a friend who is coming to baroque music for the first time. It is hard to imagine anyone disliking it.

Customer Reviews:

Exquisite.......2000-09-30

... If you love Rachmaninov, this disc is a MUST HAVE. It is one of 3 CD's I have purchased within the past 3 months in an effort to obtain an emotionally satisfying recording of Rach's Moment Musical No.4 Although I would have preferred a slightly slower tempo, Shelley plays the piece with FLAIR and PASSION, yet his playing remains clean and accurate throughout. His is a powerful and beautifully crafted performance. The rest of the disc is just as satisfying. The bonus is that because of this purchase, I have "discovered" a most wonderful interpreter of Rachmaninov's piano music. I can't wait to add Shelley's recording of Rachmaninov's Transcriptions to my collection.

Domenico Scarlatti: Stabat mater; Salve Regina; Sonatas for Organ

Average customer rating:

Domenico Scarlatti: Stabat mater; Salve Regina; Sonatas for Organ

Manufacturer: Musical Heritage Society
ProductGroup: Music
Binding: Audio CD
ASIN: B000E4WWK8

Product Description

1. Stabat Mater, for double chorus & continuo in C minor 2. Sonata for keyboard in D major, K. 288 (L. 57) 3. Sonata for keyboard in G major, K. 328 (L. S27) 4. Sonata for keyboard in C minor, K. 254 (L. 219) 5. Sonata for keyboard in D major, K. 287 (L. S9) 6. Sonata for keyboard in C major, K. 255 (L. 439) 7. Salve Regina, motet for soprano, alto & organ in A minor DDD

Domenico Scarlatti: Stabat Mater / Cavalli: Salve Regina / Gesualdo: Ave, dulcissima Maria

Average customer rating:

a voice teacher and early music fan
Superb Little-Known Works Superbly Performed

Domenico Scarlatti: Stabat Mater / Cavalli: Salve Regina / Gesualdo: Ave, dulcissima Maria
Clemens non Papa (Jacob Clement) , Pier Francesco Cavalli , Carlo Gesualdo , Domenico Scarlatti , John Eliot Gardiner , English Baroque Soloists , and Monteverdi Choir
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000005E5Y
Release Date: 1992-02-03

Tracks:

Stabat Mater - Flowers/Knibbs/Priday/ Ross/Stafford/Chance/Robertson/Murgatroyd...
Salve Regina - East/Botwright/Ross/Lindberg
Ave Dulcissima Maria - Alastair Ross
O Maria, Vernans Rosa - Monteverdi Chor/English Baroque Soloists/John Eliot Gardiner

Customer Reviews:

a voice teacher and early music fan.......2007-01-04

This recording include pieces, all of which are in honour of the Virgin Mary, and therefore share an undoubted Roman Catholic identity. They are also a reflection and echo of Western polyphony ,as well as a source of spiritual beauty and emotion.
The largest composition on the disc is the 'Stabat Mater' by Scarlatti, composed at Rome around 1715. It is in a contrapuntal style, the sequence of which refers to the Neopolitan custom, where the ceremonies of Holy Week were an excuse for liturgical scenic productions. It is scored for four sopranos,two altos, two tenors, two basses and organ continuo. The music is frequently lyrical and mature in manner, and also highly melodic, astonishingly modern and has harmony whose 'richness and beauty remind one of Mozart's last religious composition.
Carlo Gesualdo in his 'Ave Dulcissima Maria' uses a grand five-part style in this 'cantione sacra'.
Francesco Cavalli, a desciple of Monteverdi,stays faithful in his 'Salve Regina' to the fourpart style with basso continuo. The concerns of the dramatist(Cavalli was above all known as a composer of operas)emerge through the homophonic mode of his writing. The repetitive effects are almost like a litany.
Jacques Clement in his 5 part motet 'O Maria, Vernans Rosa' imposes his skill in an imitative style resembling that of Palestrina. But the breadth of his sonorities suggests Lassus and his followers.
John Eliot Gardiner, along with the soloists and the Monteverdi Choir, have produced a remarkable recording!!! The singing is 'perfecto' and the soloists are skilled in every way. I particularly liked the 2 countertenors : Michael Chance and Ashley Stafford. Chance has flawless diction and his own amazing 'golden' sound. All early music lovers should enjoy this disc. By the way, it was recorded in 1984!!!!!

Superb Little-Known Works Superbly Performed.......2000-07-13

I first heard this recording of the Scarlatti Stabat Mater late one evening on KUHF in Houston. It was nearly as thrilling an experience as discovering Handel's Dixit Dominus. Here is genuinely thrilling Baroque choral music whose drama and skill inform the listener, in amazingly few notes, why Alessandro Scarlatti was THE man to beat in the Baroque opera biz of his day. I bought the record album immediately. The 'frosting on the cake,' so to speak, was the Gesualdo Ave Dulcissima Maria. People interested in choral music of this period have heard their fill of performances of Gesualdo, performances intended to shock through the weirdness of his harmonic vocabulary. John Eliot Gardiner and the Monteverdi Choir have come along and performed Gesualdo in a way that makes his chromatic harmonies the logical servants of the texts he is heightening -- not weirdness for weirdness's sake. This short performance is absolutely breathtaking. Let's hope Erato discovers, some time soon, what a prize they have in this recording and re-issue it on CD. I'm there!

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