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Claudio Giovanni Antonio Monteverdi (1567-1643)

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Canta in Prato

Canta in Prato

Songs, dances & arias


 

Greensleeves

Folk song, 16th century

Bach, J M I:

Es ist ein großer Gewinn

Cornyshe:

Blow thi Horne

Henry VIII:

Pastyme with good companye

Holborne:

The image of Melancholly

instrumental

Monteverdi:

Clori amorosa

Praetorius, M:

Bransle de la Torche

instrumental

Volta

instrumental

Scarlatti, A:

Cantata 'Lontan dalla sua Clori'

Vivaldi:

Canta in prato, ride in monte, RV623

In furore iustissimae irae, RV626


Cappella Stravagante

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Profil Medien - PH07068

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Great Opera Choirs

Great Opera Choirs


Leoncavallo:

Andiam...Din, Don, suona il vespero (from I Pagliacci)

sung in German

Monteverdi:

Lasciate i monti

Ahi, caso acerbo!

Vanne Orfeo

Mozart:

Che del ciel, che degli Dei from La Clemenza di Tito

O Isis und Osiris, welche Wonne! (from Die Zauberflöte)

Mussorgsky:

Szene der Bojaren in der Duma from: Boris Godunov

Puccini:

Humming Chorus (from Madama Butterfly)

Schoenberg:

Wo ist Moses? Wo ist der Führer?

Verdi:

Gloria all'Egitto (from Aida)

Tre volte (from Macbeth)

Patria oppressa (from Macbeth)

Wagner:

Freudig begrussen wir 'Entrance of the Guests' (from Tannhauser)

Heil'ge Jungfrau, Romas Söhne! (from Rienzi)


Staatsopernchor Stuttgart & Staatsorchester Stuttgart, Michael Alber & Peter Schrottner

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Profil Medien - PH04046

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Songs To Mary

Songs To Mary

Marian Motets of Monteverdi, Grandi, Carissimi


anon.:

Ave Maria

(Libera usualis, 19th Century)

Carissimi:

O quam pulchra es

Salve, salve puellule

Frescobaldi:

Toccate e partite d'intavolatura di cimbalo et organo, libro primo: Toccata settima

Grandi:

O quam tu pulchra es

Tota pulchra es

Virgo prudentissima

Hodie virgo Jesu dilecta

Kerll:

Toccata prima

Monteverdi:

Exulta, filia Sion

Pianto della Madonna 'Iam moriar, mi fili' (sopra il Lamento dell'Arianna), SV 288


Robert Crowe (male soprano) & Michael Eberth (organ)

Mary has held a central position in Christianity since the dawn of the church. As early as 250 AD, prayers were being written to her, and her position was solidified by the Council of Ephesus in 431 AD as Theotokus, or “Birthgiver of God.”

In the first half of the 17th century especially, composers preferred the often much more elaborate hymns of praise to Mary, either cobbled together from various Biblical passages, or freely written based upon either Biblical events or Church dogma.

All of these pieces were recorded using editions of original manuscripts.

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Profil Medien - PH10054

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