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ARCANA | MEDIEVAL Y RENACENTISTA (1 CD)

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16,95 €

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13,55 €


Claudio Monteverdi
Monteverdi in San Marco


REF.: A 447
EAN 13: 3760195734476
Si realiza el pedido hoy, este producto estará listo para ser enviado el lunes 25/06/2018

Siguiendo el exitoso y premiado álbum dedicado a las obras polifónicas sacras compuestas para la Basílica de Santa Bárbara durante el periodo en el que Claudio Monteverdi trabajó para la familia Gonzaga en Mantua, Odhecaton regresa ahora presentando un nuevo conjunto de composiciones religiosas pertenecientes a los últimos años creativos del compositor, con partituras dedicadas a la basílica de San Marcos, donde Monteverdi ejerció como maestro de capilla desde 1613.

Esta nueva grabación presenta las dos caras de la rutina compositiva sacra de Monteverdi: el stile antico (o contrapunto estricto), ejemplificado por su misa a cuatro voces publicada póstumamente en 1650; y el stile moderno (o concertato), con una escritura vocal tanto a solo como concertante de gran impronta melódica. Dentro de esta última práctica, donde se entrelazan voces e instrumentos en un diálogo sorprendentemente fluido, podemos enmarcar el monumental Gloria a 7 voci, pieza concebida para una capilla musical rica en cantantes e instrumentistas y de extrema dificultad.

Pero también contrarrestando lo acostumbrado en esta ciudad de los teatros, en el apogeo del canto a voce sola, Monteverdi transformó el famoso "Lamento d'Arianna" (de su ópera perdida Arianna) en una pieza sagrada ("Iam moriar mi fili"). La imaginación, el colorido vocal y las innovaciones en el terreno armónico son de tal calibre que no podemos dejar de considerar estas partituras como testigos del increíble avance que el compositor cremonés supo legar a los músicos barrocos contemporáneos.

FECHA DE PUBLICACIÓN
17/04/2018

INTÉRPRETES
Odhecaton
Paolo da Col, dirección

DATOS DE PRODUCCIÓN
Recorded 24-27 June 2017 in the church of San Pietro, Belluno (Italy)
Producer: Michael Seberich — Recording engineer: Michael Seberich — Balance Engineer / Mastering: Michael Seberich — Editing: Corrado Ruzza
Coproduced by Odhecaton and Outhere Music France.

CONTENIDO
Claudio Monteverdi (1567-1643):

1 Messa a quattro voci da cappella: I. Kyrie  04:32
2 Messa a quattro voci da cappella: II. Gloria C 04:46
3 Messa a quattro voci da cappella: III. Credo  06:35
4 Messa a quattro voci da cappella: IV. Sanctus  02:44
5 Messa a quattro voci da cappella: V. Benedictus i 01:40
6 Messa a quattro voci da cappella: VI. Agnus Dei i 06:15
7 Gloria a 7 voci concertato con due violini et […] 4 tromboni (Biagio Marini) 13:30
8 Sinfonia  01:39
9 Pianto della Madonna a voce sola sopra al Lamento d’Arianna  07:40
10 Lætaniæ della Beata Vergine a sei voci  11:11   

1 CD - DDD - 60:38

RESEÑA (La Quinta de Mahler)

When, in August 1613, Monteverdi officially assumed the leadership of the musical establishment (chapel) in St. Mark’s, its enviable forces already included 2 organists, no fewer than 20-22 singers, a stable group of 4-5 instrumentalists, and a second semi-stable group of 16 other players. The dimensions of this remarkable musical ensemble could be further augmented by about twenty elements (ten singers and an equal number of players) for the major feasts (solennità principalissime) of the Ascension (first Vespers) and Christmas (midnight and morning Masses), and of a smaller but not inconsiderate number of musicians (from 2 to 9) on the important feasts of St. Mark (first Vespers and Mass) and Easter (Mass). Wielding his prestige and influence over the administrators of the Basilica (the Procuratori di San Marco de supra), Monteverdi further strengthened the stable forces of the chapel over the course of his direction. While it is not easy to quantify the exact size of the new vocal and instrumental chapel, documentation in the Basilica testifies to the exceptional number of 187 musicians (127 singers and 60 instrumentalists) employed at various times over the three decades of Monteverdi’s tenure. 19 singers and 4 instrumentalists were already active before 1613, and 163 musicians – 108 singers and 55 players – were hired with Monteverdi’s approval between 1613 and the first half of 1643. It is difficult from this chronological data to draw definitive conclusions concerning the number of musicians actually active during a particular period, and it is especially problematic to understand how many musicians would have comprised the diverse sections of the vocal chapel. Nonetheless, it is likely that in the decade preceding the plague, when many of the old singers and players hired prior to 1613 were still active, and the pace of hiring gave no signs of abating, there would have been no fewer than thirty singers and more than twenty instrumentalists in the chapel.

Perhaps the most characteristic aspect of St. Mark’s chapel at the time of Monteverdi is the presence of a large number of castrati. Between 1620 and 1630, the soprano section included not only the “legendary” falsettist, Don Vido Rovetti da Piove, but also consisted for the most part of castrati (“eunuchs”) from all over, though some were in fact trained in Venice. Such is the case of Antonio Grimani, called Il Turchetto (the little Turk), one of the greatest singers of his day who, together with other musicians at St. Mark’s, can be said to have heralded the beginnings of Venetian opera. Protected by the bishop of Torcello and later patriarch of Aquileia (from whom, as often occurred, the singer took his first and last names), Grimani was bought on the slave market in Livorno from the cleric who educated, converted and maintained him “as his own son”. Il Turchetto was in fact not Turkish, as some recent scholars have attested, but was instead from Prevesa, a Greek-Venetian port which from 1530 had been annexed to the Ottoman empire. He was the protagonist of Ermiona (Padua, 1636), an opera-tournament considered to be a significant precursor of Venetian opera before a paying audience. The music was by the tenor Felice Sances, another singer at St. Mark’s and a native of Rome but, like Grimani, trained in Venice under the protection of the abbot Giovanni Francesco Morosini (patron also of Francesco Monteverdi). Grimani and Sances were not in any case the only memorable virtuosi at St. Mark’s. Beyond the mere question of numbers, perhaps the most remarkable aspect of this “golden age” of the ducal chapel lies in the elevated quality of its vocal and instrumental personnel. Between 1614 and 1640, alongside Monteverdi the chapel contained an exceptional mass of talent, some of whom would leave their mark on the character and destiny of Venetian music, thanks to their skills in both composition and the more advanced practices of vocal and instrumental performance: Marc’Antonio Negri, Alessandro Grandi, Giovanni Rovetta, Francesco Cavalli, Francesco Manelli, Giovanni Pietro Berti, Domenico Obizzi, Carlo Fillago, Biagio Marini, Dario Castello, Giovanni Battista Rigatti, Antonio Gualtieri, the afore-mentioned Felice Sances and Antonio Grimani, and various others. This extraordinary human patrimony not only constituted an important creative stimulus, but also allowed Monteverdi to meet his compositional obligations in the Basilica with great liberty. The expressive and “theatrical” character of some of the ecclesiastical music produced by Monteverdi in Venice, exemplified by the frequent and often unexpected application of the dialectic of opposites, animating even the apparently more “innocent” compositions (such as certain psalms in the posthumous edition of the Messa and Salmi of 1650), were made possible by virtue of the skill and multifaceted talents of the musicians at St. Mark’s chapel. RODOLFO BARONCINI Venice, December 2017

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