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Andrzej Kosendiak & Wroclaw Baroque Orchestra - Antonio Maria Bononcini: La decollazione di San Giovanni Battista (2019)

Classic | Author: SELMER | 31-05-2019, 12:16
Andrzej Kosendiak & Wroclaw Baroque Orchestra - Antonio Maria Bononcini: La decollazione di San Giovanni Battista (2019)
Artist: Andrzej Kosendiak & Wroclaw Baroque Orchestra
Title Of Album: Antonio Maria Bononcini: La decollazione di San Giovanni Battista
Year Of Release: 2019
Label: CD Accord
Country: Poland
Genre: Classical
Quality: FLAC (*image + .cue, log, booklet)
Bitrate: Lossless
Time: 1:31:30
Full Size: 441 MB





Tracklist:

CD1
01. Introduzione

02. PRIMA PARTE- Aria. Sorga omai l’ Alba lucente (Erodiade)
03. Recitativo. Ma no, de’ suoi bei raggi il sol (Erodiade, Erode)
04. Aria. Tutto attento il sol mirai (Erode)
05. Recitativo. Soffri mio Re, che al tuo reale aspetto (Erodiade, Erode, Battista)
06. Aria. Perche il sole d’ogn’astro e maggiore (Battista)
07. Recitativo. Ma tu che fai? Tu dormi neghittoso nel mal? (Battista, Erode)
08. Aria. Omicida e la pieta, che la gioia opprime in fasce (Erode)
09. Recitativo. Oh, di cieco pensiero ingannate follie (Battista)
10. Aria. Parmi veder gia il Ciel (Battista)
11. Recitativo. Mio Sposo, mio Signore, gia di turbe festive (Erodiade, Erode)
12. Aria. Gia costretta dal martir (Erodiade)
13. Recitativo. Erodiade, deh cessa dai rimproveri tuoi… (Erodiade, Erode)
14. Duetto. Rieda pure in questo core / Torni pure in questo core (Erodiade, Erode)
15. Recitativo. Ecco a’ tuoi cenni, o Madre (Salome, Erodiade)
16. Aria. Si cadra la cervice si temuta (Salome)
17. Recitativo. Al prigionier Battista (Angelo)
18. Aria. Preziosa e quella morte (Angelo)

CD2
01. SECONDA PARTE- Aria. Festivi, giulivi, risuanate (Salome)
02. Recitativo. Ma a regia mensa assiso (Salome)
03. Coro. Rapido da te lungi
04. Recitativo. Della tua vita accio fian fausti i giorni (Salome)
05. Aria. De le palme c’ha l’Idume (Salome)
06. Recitativo. Non piu deh cessa, o bella maga gentil d’amore (Erode, Erodiade, Salome)
07. Aria. Nulla si nieghi, tutto si doni a una belta (Erode)
08. Recitativo. Ah, mio Rege adorato (Erodiade, Erode, Battista)
09. Aria. Bacio l’ombre e le catene (Battista)
10. Recitativo. In questo orror profondo (Angelo)
11. Aria. Con animo forte incontra la morte (Angelo)
12. Recitativo. Qual annunzio beato (Battista)
13. Aria. Tu che sei Nume di pace (Battista)
14. Recitativo. Et ancora i tuoi voti (Angelo)
15. Aria. Tardi diviene all’ira (Angelo)
16. Recitativo. Figlia gia fausto arride (Erodiade, Salome)
17. Aria. Clizia, che amante del Sole e ogn’or (Salome)
18. Recitativo. Signor, giacche di tanto (Salome, Erode, Erodiade)
19. Aria. Il crin cingetemi (Erodiade)
20. Recitativo. Ecco, o Madre, gia estinto (Salome)
21. Duetto. Ho vinto, o Figlia, si si / Vincesti, o Madre, si si (Erodiade, Salome)
22. Recitativo. Cosi d’empio livore (Angelo)
23. Coro. Muore il giusto, e sempre vive

Bononcini’s La decollazione was first performed during Lent of 1709 in the chapel of Emperor Joseph I in Vienna. The rather sober scoring of La decollazione for strings and continuo might be explained by the Lenten presentation, but the vocal and instrumental demands of the piece fully exploited the brilliance of the Viennese musicians, and their skill in opera. At the same time, Bononcini integrated his skills in counterpoint, normally associated with sacred music, throughout the work so that it presents as both worldly and spiritual. This contrapuntal severity can be heard in the orchestral Introduction, the closing Coro Muore il giusto, sung by the 5 soloists, and several of the arias, particularly St John’s Bacio l’ombre, set in the dark key of F minor. The role of St John is sung by an alto, a vocal register often used for heroes in baroque opera, when they were performed by castrati with powerful lungs. The morally weak Herod is sung by a bass, while Herodias and Salome would both have been sung by soprano castrati representing women, and are given music that is especially sensuous in style. The duet Rieda pure sung by Herod and Herodias early in the piece would be an effective love duet in any opera of the time, and yet is also impressively contrapuntal, interlocking the lovers in the ways of earlier Italian madrigals. Bononcini employs the convention of the da capo aria throughout the oratorio, but writes out the return of the A sections rather than using the shorthand of DC. However, at the dramatic turning point in the story, where Salome is singing the solo De la palme and we presume is dancing for the guests, Herod cuts her off with his passionate recitative Non piu, deh cessa before she has even completed the B section. After that, he begins his offer of granting her a wish. While this break with musical convention might seem like a small thing today, in Bononcini’s time, it was a very unusual and vivid depiction of Salome’s erotic power and Herod’s weakness.

Wroclaw Baroque Orchestra
Andrzej Kosendiak, conductor

Andrzej Kosendiak & Wroclaw Baroque Orchestra - Antonio Maria Bononcini: La decollazione di San Giovanni Battista (2019)



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