Jommelli: Missa pro Defunctis, Libera me & Miserere il Gardellino Vocal Ensemble and Baroque Orchestra & Peter Van Heyghen

Album Info

Album Veröffentlichung:
2020

HRA-Veröffentlichung:
03.04.2020

Label: Passacaille

Genre: Classical

Subgenre: Vocal

Das Album enthält Albumcover

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Formate & Preise

FormatPreisIm WarenkorbKaufen
FLAC 176.4 $ 16,50
  • Niccolò Jommelli (1714 - 1774): Missa pro Defunctis in E-Flat Major, HocJ A1.3:
  • 1Missa pro Defunctis in E-Flat Major, HocJ A1.3: I. Introitus, "Requiem æternam"02:15
  • 2Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 1. Kyrie eleison00:55
  • 3Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 2. Christe eleison01:04
  • 4Missa pro Defunctis in E-Flat Major, HocJ A1.3: II. Kyrie, 3. Kyrie eleison01:04
  • 5Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 1. Dies irae04:02
  • 6Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 2. Salva me, fons pietatis05:19
  • 7Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 3. Oro supplex et acclinis02:11
  • 8Missa pro Defunctis in E-Flat Major, HocJ A1.3: III. Sequentia, 4. Pie Jesu Domine01:57
  • 9Missa pro Defunctis in E-Flat Major, HocJ A1.3: IV. Offertorium, 1. Domine, Jesu Christe, (a) Domine Jesu Christe, Rex gloriae00:36
  • 10Missa pro Defunctis in E-Flat Major, HocJ A1.3: IV. Offertorium, 1. Domine, Jesu Christe, (b) Libera eas de ore leonis00:53
  • 11Missa pro Defunctis in E-Flat Major, HocJ A1.3: IV. Offertorium, 1. Domine, Jesu Christe, (c) Quam olim Abrahae promisisti01:22
  • 12Missa pro Defunctis in E-Flat Major, HocJ A1.3: IV. Offertorium, 1. Hostias, (a) Hostias et praeces tibi, Domine01:20
  • 13Missa pro Defunctis in E-Flat Major, HocJ A1.3: IV. Offertorium, 1. Hostias, (b) Quam olim Abrahae promisisti01:23
  • 14Missa pro Defunctis in E-Flat Major, HocJ A1.3: V. Sanctus, 1. Sanctus, Dominus Deus01:25
  • 15Missa pro Defunctis in E-Flat Major, HocJ A1.3: V. Sanctus, 2. Hosanna01:03
  • 16Missa pro Defunctis in E-Flat Major, HocJ A1.3: VI. Benedictus, 1. Benedictus qui venit in nomine Domini02:05
  • 17Missa pro Defunctis in E-Flat Major, HocJ A1.3: VI. Benedictus, 2. Hosanna in excelsis01:07
  • 18Missa pro Defunctis in E-Flat Major, HocJ A1.3: VII. Agnus Dei, 1. Agnus Dei, qui tollis peccata mundi01:09
  • 19Missa pro Defunctis in E-Flat Major, HocJ A1.3: VII. Agnus Dei, 2. Dona eis requiem01:49
  • 20Missa pro Defunctis in E-Flat Major, HocJ A1.3: VIII. Communio, 1. Lux aeterna luceat eis Domine00:56
  • 21Missa pro Defunctis in E-Flat Major, HocJ A1.3: VIII. Communio, 2. Requiem aeternam01:46
  • 22Missa pro Defunctis in E-Flat Major, HocJ A1.3: VIII. Communio, 3. Cum sanctis tuis in aeternum00:40
  • Libera me in C Minor, HocJ E.2:
  • 23Libera me in C Minor, HocJ E.2: I. Libera me02:02
  • 24Libera me in C Minor, HocJ E.2: II. Quando cœli movendi sunt et terra00:46
  • 25Libera me in C Minor, HocJ E.2: III. Dum veneris iudicare01:10
  • 26Libera me in C Minor, HocJ E.2: IV. Tremens factus sum ego01:01
  • 27Libera me in C Minor, HocJ E.2: V. Quando cœli movendi sunt et terra00:46
  • 28Libera me in C Minor, HocJ E.2: VI. Dies illa, dies irae01:14
  • 29Libera me in C Minor, HocJ E.2: VII. Dum veneris iudicare01:47
  • Miserere in G Minor, HocJ C1.23:
  • 30Miserere in G Minor, HocJ C1.23: I. Miserere, 1. Miserere mei Deus01:35
  • 31Miserere in G Minor, HocJ C1.23: I. Miserere, 2. Et secundum multitudinem00:38
  • 32Miserere in G Minor, HocJ C1.23: II. Amplius lava me ab iniquitate mea00:42
  • 33Miserere in G Minor, HocJ C1.23: III. Quoniam iniquitatem meam00:33
  • 34Miserere in G Minor, HocJ C1.23: IV. Tibi soli peccavi01:13
  • 35Miserere in G Minor, HocJ C1.23: V. Ecce enim in iniquitatibus conceptus sum00:37
  • 36Miserere in G Minor, HocJ C1.23: VI. Ecce enim veritatem00:53
  • 37Miserere in G Minor, HocJ C1.23: VII. Asparges me hysopo et mundabor00:34
  • 38Miserere in G Minor, HocJ C1.23: VIII. Auditui meo dabis gaudium00:36
  • 39Miserere in G Minor, HocJ C1.23: IX. Averte faciem tuam00:33
  • 40Miserere in G Minor, HocJ C1.23: X. Cor mundum crea in me Deus01:46
  • 41Miserere in G Minor, HocJ C1.23: XI. Ne proicias me a facie tua00:34
  • 42Miserere in G Minor, HocJ C1.23: XII. Redde mihi laetitiam00:39
  • 43Miserere in G Minor, HocJ C1.23: XIII. Docebo iniquos vias tuas00:30
  • 44Miserere in G Minor, HocJ C1.23: XIV. Libera me de sanguinibus, Deus01:45
  • 45Miserere in G Minor, HocJ C1.23: XV. Domine labia mea aperies00:35
  • 46Miserere in G Minor, HocJ C1.23: XVI. Quoniam si voluisses00:49
  • 47Miserere in G Minor, HocJ C1.23: XVII. Sacrificium Deo00:36
  • 48Miserere in G Minor, HocJ C1.23: XVIII. Benigne fac Domine01:46
  • 49Miserere in G Minor, HocJ C1.23: XIX. Tunc acceptabis, 1. Tunc acceptabis sacrificium00:34
  • 50Miserere in G Minor, HocJ C1.23: XIX. Tunc acceptabis, 2. Tunc imponent01:05
  • Total Runtime01:03:40

Info zu Jommelli: Missa pro Defunctis, Libera me & Miserere

Niccolò Jommelli was one of the most sought after composers of his time, but finally accepted to become musical director at the court of Stuttgart in 1753. Three years later he composed his Requiem to commemorates the recent death of the Duchess von Württemberg, mother of his patron, the Duke Carl Eugen.. Despite the fact that Jommelli owed his fame almost exclusively to his operas during his lifetime, the Requiem became his most famous work after his death; the almost one hundred handwritten and printed copies of the entire work or fragments of it that have survived in some seventy libraries throughout Europe, some also in the USA, bear witness to this. Whilst the score and parts of the first performance have been lost, we can still form a reasonably good idea of the original instrumentation thanks to a surviving list of payments made to the musicians. We know that there were eight singers (one female and seven male) in addition to Jommelli. We also know that soon after Jommelli’s death the work was performed with ensembles of very different sizes But Peter Van Heyghen and Il Gardellino opted for the version that was close to the first performance and based it’s own edition on the mansuscript that is considered to be the primary source for the work. Van Heyghen and il Gardellino choose to constitute a vocal ensemble with the state of the art singers of the moment, and the result is stunningly convincing and beautiful.

Ensemble Il Gardellino
Peter Van Heyghen, direction



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