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Stabat Mater a Dieci Voci

5 out of 5 stars 2 customer reviews

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Audio CD, October 8, 2002
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Track Listings

Disc: 1

  1. Stabat Mater Dolorosa
  2. Cujus Animam Gementem
  3. Quis Non Posset Contristari
  4. Fa Mater Fons Amoris
  5. Sancta Mater, Istud Agas
  6. Fac Me Vere Tecum Flere
  7. Juxta Crucem Tecum Stare
  8. Inflammatus Et Accensus
  9. Fac Ut Animae Donetur
  10. Amen
  11. Kyrie
  12. Gloria
  13. Credo
  14. Sanctus
  15. Benedictus
  16. Angus Dei

Product Details

  • Performer: Concerto Italiano
  • Conductor: Rinaldo Alessandrini
  • Composer: Domenico Scarlatti
  • Audio CD (October 8, 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Alliance
  • ASIN: B00004ZBJS
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #736,821 in Music (See Top 100 in Music)

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[This review is recycled from that of a previous edition of the same performance.]

Alessandro Scarlatti's setting of the Stabat Mater is a model of Baroque emotional expressiveness, essentially an operatic cantata, with the sectional variety of recitations and arias over basso continuo that Vivaldi had employed in his earlier setting and that Pergolesi was soon to use in his. Whether Domenico Scarlatti intended his remarkable Stabat Mater for Ten Voices to be taken as a sign of his independence from the model of his father, or a response to a commission from the Duke of Alba, or a challenge to the 'theatrical' composers of the musical moment who lacked 'the true laws of writing in counterpoint,' the younger Scarlatti chose to compose in the strictest "prima prattica" style of vocal polyphony with minimum continuo, a form of music closer to Palestrina or Brumel than to his 18th Century peers. The ten voices are not even grouped into two choirs in the antiphonal manner of Gabrieli, and they double up as a choir of five parts only for brief sectional emphasis. Young Domenico clearly seems to have intended to prove something; this is true ten-part polyphony that any Renaissance master would have had to admire.

The Mass for Four Voices is possibly even more a piece of defiance, a challenge to composers of popular but shallow music to match the higher standards of previous eras. The only source of the work, dated 1754, is a manuscript copied in a graphic style plainly imitative of the elegant part-books of the Renaissance. Thus the "most modern" composer of his age, so christened by modern worshipers of his keyboard works, was also the most "reactionary!
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The intertwining lines of the different voice parts in the Stabat Mater is pure Scarlatti. And I love music that uses the countertenor voice in homage to the period. Am glad to have this recording in my growing collection of Renaissance and early music.
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