Via Crucis

Erato: 6945770

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Via Crucis

Label:

Erato

Catalogue No:

6945770

Discs:

1

Release date:

22nd March 2010

Barcode:

5099969457708

Length:

70 minutes

Medium:

CD (download also available)
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Via Crucis

Rappresentazione della gloriosa Passione di Cristo


 

Ninna nanna alla Napoletana

Traditional / Merlandi / Guissani

Lumi, potete piangere

Traditional/ corsican

Voglio morire

Traditional/corsican

Stabat Mater

Maurizio Cazzati 1616-1678 / Giovanni Antonio Pandolfi Mealli c.1630-c.1669

Passacaglia

Allegri, L:

Laudate Dominum

anon.:

L’Annonciation

Canario

Biber:

Hor ch’è tempo di dormire

Capezzuto:

’Stù criatu

Ferrari, Benedetto:

Suda sangue

Gragnaniello:

Ciaccona di Paradiso e dell’Inferno

Legrenzi:

La morte di Xsto – O Diu, tante suffranze

Merula:

Maria (sopra la Carpinese)

Lamentu di Ghjesu (sopra la Follia)

Monteverdi:

Ciaccona

Rossi, Luigi:

Queste pungente spine

Sances:

Stabat Mater


Philippe Jaroussky (counter tenor) & Nuria Rial (soprano)

L’Arpeggiata & Ensemble Barbara Fortuna (Corsican Choir), Christina Pluhar

CD

$13.25

(also available to download from $10.00)

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Mediterranean passion – of a religious nature -- inspires L’Arpeggiata’s new collection, an encounter between works by the 17th century Italian composers Sances and Merula and traditional music from Italy and Corsica.

L’Arpeggiata, the French-based ensemble directed by Austrian-born harpist and lutenist Christina Pluhar, releases its second Virgin Classics album, following Teatro d’amore, a programme of Monteverdi which blended instruments and voices, score and improvisation in a kind of sublime Baroque jam session. Figaro magazine observed that “L’Arpeggiata invests Monteverdi with a dazzling array of vocal and instrumental colours. A touch of improvisation raises the singing to an incandescent level … A unique distillation of explosive vitality,” while the leading German news magazine Spiegel exclaimed: “Roll over, Monteverdi“; it is a long time since classical music has held so many surprises or taken such a broad view.“

L’Arpeggiata has made a speciality of exploring and exploiting the close links between Baroque repertoire and the traditional music of the Latin world and its characteristic forms such as the tarantella, the folia or the canario. In this new collection, Via Crucis, ‘the way of the Cross’, the focus is on the pervasive presence of religious feeling in Southern Europe. The Passion of Christ evokes the same fervour in composers such as Giovanni Felice Sances (1600-1679) or Tarquinio Merula (1594-1665) – both active in northern Italy -- as it does in the streets of Naples or the villages of Corsica. The two main works in the collection are Sance’s extraordinary Stabat Mater and Merula’s Hor ch’e tempo di dormire, in which the Virgin Mary lulls her baby to sleep while weeping for his future suffering and both enthrall the listener with a basso ostinato and hypnotic swaying rhythms.

Reviewing Teatro d’amore, L’Education musicale wrote that: “Ingeniously chosen vocal works are interspersed with important instrumental pieces, taking us on a supreme journey through Monteverdi. The communicative energy and the intense sculptural beauty of pieces like the final duet from L’incoronazione di Poppea or rich sequences of madrigals are transformed by an ensemble that is palpably composed of soloists. Most astonishing of all – and this is a significant discovery – is the modernity that lurks in this music … A Venetian piece from 1664 makes one wonder whether it’s a matter of Monteverdian style or jazz rhythms. … The addition of two exceptional voices adds further appeal to this fusion of genres : Philippe Jaroussky, whose angelic timbre fills the lines blissfully and Nuria Rial, who brings a velvety tenderness. When they come together the mood reaches sensual heights. This is far more than a compilation … it is music in its truest manifestation.”

Rial and Jaroussky feature again on Via Crucis and they are joined by the male vocal quartet Barbara Furtuna (Corsican Choir), whose earthy, but highly-disciplined sonorities evoke centuries of Mediterranean culture.

Heinrich Ignaz Franz von Biber: L'Annonciation

L'Annonciation

Anonymous: Ninna nanna alla Napoletana (Napoletana)

Ninna nanna alla Napoletana (Napoletana)

Jean-Philippe Guissani: Maria (sopra La Carpinese)

Maria (sopra La Carpinese)

Tarquinio Merula: Hor ch'è tempo di dormire

Hor ch'è tempo di dormire

Heinrich Ignaz Franz von Biber: L'Aria

L'Aria

Giovanni Legrenzi: Lumi, potete piangere

Lumi, potete piangere

Traditional: Suda sangue

Suda sangue

Benedetto Ferrari: Queste pungente spine

Queste pungente spine

Luigi Rossi: Voglio morire

Voglio morire

Traditional: Stabat Mater

Stabat Mater

Christina Pluhar: Stabat Mater

Stabat Mater

Giovanni Antonio Pandolfi Mealli: Passacaglia

Passacaglia

Toni Casalonga, Roccu Mambrini, Nando Acquaviva: Lamentu di Ghjesu (sopra la Follia)

Lamentu di Ghjesu (sopra la Follia)

Tarquinio Merula: Ciaccona

Ciaccona

Claudio Monteverdi: Laudate Dominum

Laudate Dominum

Lorenzo Allegri: Canario

Canario

Anonymous: Ciaccona di Paradiso e dell'Inferno

Ciaccona di Paradiso e dell'Inferno

Enzo Gragnaniello: 'Stù criatu

'Stù criatu

The Observer

28th Mar ch 2010

“Concept discs uniting early music with folk music can be suspect, but this one is very classy...Pluhar's arrangements are stylishly varied.”

BBC Music Magazine

May 2010

****

“the sound they make is gorgeous, lush in texture, with splendid performances from soprano Nuria Rial and countertenor Philippe Jaroussky...Like the vocalists, the instrumentalists of L'Arpeggiata perform with an affective sincerity that is undiminished by clarity of articulation.”

The Independent

2nd May 2010

“...a fascinating programme of motets and meditations on the Passion...Pluhar is a more-is-more director, decorating the simplest folk melodies with cornetto divisions and glistening chords”

International Record Review

July/August 2010

“[L'Arpeggiata's] fertile improvisations above these old bass patterns have never sounded more colourful...While the players get busy below, Rial and countertenor Philippe Jaroussky play it straight on top, staying focused and simple-toned.”

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