Das Ensemble L`Archibudelli um den Cellisten Anner Bylsma hat gemeinsam mit der wunderbaren Sopranistin Roberta Invernizzi die äußerst selten eingespielte Messe von Luigi Boccherini in einer fantastischen Einspielung neu aufgenommen. Trotz minimaler Bestzung ohne Chor und Bläser wird der Hörer von der Dramatik der einzelnen Sätze gefesselt. Rberta Invernizzi bringt mit klarer und feiner Stimme jede einzelne Wendung dieses interessanten Werkes voll zur Geltung und das Streicherensemble brilliert mit kraftvoll zupackendem Ton und wunderbaren langsamen Sätzen. Das Stabat Mater wird ergänzt durch die Streichquintette op. 42. Eine neue Referenzeinspielung der Vivarte- Reihe für alte Musik.
The music on this disc is surprisingly lovely and varied. I say surprisingly because the only other performance of the Boccherini I am familiar with, on Erato, is fairly staid, safe and dull. However, I shouldn't really be surprised as Boccherini is always rewarding in safe hands, and there aren't many safer than Robert King. On this recording, partly due to its sparse instrumentation, the Boccherini emerges as a sacred chamber opera, quite theatrical in parts, carrying echoes of Pergolesi's famous predecessor. The final "Quando corpus morientur" is filled with pathos, sadness and longing….
As the old saying goes, "the third time's the charm." This is indeed the third time the German label Accent has issued this coupling of Domenico Scarlatti's Stabat Mater with João Rodrigues Esteves' Missa a oito voces. The first time was in 1990, when the recording by Currende under the leadership of Erik van Nevel was new, and the second in 1998 as part of a box set containing this and several recordings by Concerto Palatino. No complaints here, though, as this is one of the finest discs Accent has to offer.
This release is dedicated to some of the most famous settings of the Stabat mater, revealing the genre's varying treatment by composers over the centuries. From Palestrina's effective use of polyphony to Pergolesi's unusually sparse instrumental accompaniment, we move forward in time to contributions by Vivaldi and Haydn. These compositions rank among some of the most famous and affective music ever composed.
As a composer Pergolesi’s productive career began at the age of twenty, and by twenty-six (March 1736) he had died of tuberculosis. During his lifetime Pergolesi’s fame was restricted, in the main, to Rome and Naples, yet after his death, his reputation eclipsed most other composers in the second half of the eighteenth century. The whole of Europe developed an increasing curiosity for his compositions. His posthumous celebrity status was such a magnet in the music world that, hoping to reap large financial profits, publishers and opera directors alike attributed his name to hundreds of vocal and instrumental works by lesser-known composers. Following Pergolesi’s death the Stabat Mater became one of the most celebrated and frequently printed works of the 18th century.
Giovanni Battista Pergolesi had a tragically short career, living just 26 years, and producing most of his mature works over a period of about five years. This album includes three of the composer's most representative pieces. The most familiar is the 40-minute Stabat mater for soprano, alto, and orchestra, which was the most frequently published composition of the 18th century. This version, featuring soprano Rachel Harnisch and contralto Sara Mingardo, makes a splendid introduction to the work and should be of interest to anyone who loves this poignant music. …
by Stephen Eddins
Three of Szymanowski’s most important works show Rattle’s ability to energise music in which he believes. Sensuality and cogency blend in refined sound.