Odhecaton, Paolo da Col – Monteverdi: In San Marco (2018) [FLAC, 24bit, 96 kHz]

Odhecaton, Paolo da Col - Monteverdi: In San Marco (2018) [FLAC, 24bit, 96 kHz] Download

Artist: Odhecaton, Paolo da Col
Album: Monteverdi: In San Marco
Genre: Classical
Release Date: 2018
Audio Format: FLAC (tracks) 24bit, 96 kHz
Duration: 01:00:36
Total Tracks: 10
Total Size: 1,05 GB

Tracklist:

1-01. Odhecaton & Paolo da Col – Messa a quattro voci da cappella, SV 190: I. Kyrie (04:32)
1-02. Odhecaton & Paolo da Col – Messa a quattro voci da cappella, SV 190: II. Gloria (04:46)
1-03. Odhecaton & Paolo da Col – Messa a quattro voci da cappella, SV 190: III. Credo (06:35)
1-04. Odhecaton & Paolo da Col – Messa a quattro voci da cappella, SV 190: IV. SanctusO (02:44)
1-05. Odhecaton & Paolo da Col – Messa a quattro voci da cappella, SV 190_ V. Benedictus (01:40)
1-06. Odhecaton & Paolo da Col – Messa a quattro voci da cappella, SV 190: VI. Agnus Dei (06:15)
1-07. Odhecaton & Paolo da Col – Gloria a 7 voci concertata con due violini & quattro viole da brazzo overo 4 tromboni, SV 258 (13:30)
1-08. Odhecaton & Paolo da Col – Sinfonia (01:39)
1-09. Odhecaton & Paolo da Col – Pianto della Madonna a voce sola sopra al Lamento d’Arianna, SV 288a (07:40)
1-10. Odhecaton & Paolo da Col – Lætaniæ della Beata Vergine a sei voci, SV 204 (11:10)

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Following their album largely devoted to sacred polyphonic works composed for the basilica of Santa Barbara during the period in which Claudio Monteverdi worked for the Gonzagas in Mantua, Odhecaton now presents sacred compositions from the composers later years, written for St Marks basilica where he became maestro di cappella in 1613. This new recording presents both sides of Monteverdis sacred style: the stile antico or strict contrapuntal style, exemplified in the Mass for four voices published posthumously in 1650; and the stile moderno, that is, concertato and solo vocal writing. The concertato style, which combines and intertwines voices and instruments in dialogue, characterizes the monumental Gloria a 7, which was conceived for a cappella rich in virtuoso singers and instrumentalists. But in this city of theaters, in the heyday of the canto a voce sola, Monteverdi transformed the famous Lamento dArianna (from his lost opera Arianna) into a sacred piece. The Litanies to the Virgin Mary, published in three collections between 1620 and 1650, represent the expression of a gentle Marian style, dominated by a cappella choral invocations alternating with brief solo passages.

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