Selva Morale (Highlights)

On this CD:

1. Gloria in excelsis Deo, motet for 7 voices, 2 violins & 4 violas/trombones (from Selva morale et spirituale), SV 258
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

2. Chi vol che m'innamori, motet for alto, tenor, bass & 3 strings (from Selva morale e spirituale), SV 256
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

3. O ciechi il tanto affaticar che giova, motet for 5 voices & 2 violins (from Selva morale e spirituale), SV 252
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

4. Adoramus te, Christe, motet for 6 voices & continuo, SV 289
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

5. Confitebor tibi, Domine III (Terzo alla francese), motet for 5 voices/or 1 voice & 4 strings (from Salve morale e spirituale), SV 267
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

6. Work(s) Confitebor tibi Domine a 6, canto solo con 5 viole
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

7. Laudate Dominum, O omnes gentes, motet for bass (from Messa a quatro voci, et Salmi), SV 197
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

8. È questa vita un lampo, motet for 5 voices (from Selva morale et spirituale), SV 254
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

9. Beatus Vir (I), motet for 6 voices, 2 violins, 3 violas/trombones and continuo (from Seva morale e spirituale), SV 268
Composed by Claudio Monteverdi
Performed by Les Arts Florissants Orchestra & Chorus

Tracks:

Vespro Della Beata Vergine 1610: Versiculus, Canto Gregoriano: Deus In Adiutorium
Vespro Della Beata Vergine 1610: Responsorium: Domine Ad Adiuvandum Me Festina
Vespro Della Beata Vergine 1610: Antiphona, Canto Gregoriano
Vespro Della Beata Vergine 1610: Psalmus I: Psalmus 109: Dixit Dominus
Vespro Della Beata Vergine 1610: Con: Nigra Sum
Vespro Della Beata Vergine 1610: Antiphona II, Canto Gregoriano: Maria Virgo Assumpta Est
Vespro Della Beata Vergine 1610: Psalmus II: Psalmus 112: Laudate Pueri
Vespro Della Beata Vergine 1610: Con: Pulchra Es
Vespro Della Beata Vergine 1610: Antiphona III, Canto Gregoriano: In Odorem Unguentorum Tuorum...
Vespro Della Beata Vergine 1610: Psalmus III: Psalmus 121: Laetatus Sum
Vespro Della Beata Vergine 1610: Son
Vespro Della Beata Vergine 1610: Antiphona IV, Canto Gregoriano: Benedicta Filia Tua Domino
Vespro Della Beata Vergine 1610: Psalmus IV: Psalmus 126: Nisi Dominus
Vespro Della Beata Vergine 1610: Con: Audi Coelum
Vespro Della Beata Vergine 1610: Antiphona V, Canto Gregoriano: Pulchra Es Et Decora, Filia...
Vespro Della Beata Vergine 1610: Psalmus IV:: Psalmus V: Psalmus 147: Lauda Jerusalem Dominum
Vespro Della Beata Vergine 1610: Son
Vespro Della Beata Vergine 1610: Capitulum, Canto Gregoriano: In Omnibus Requiem Quaesivi
Vespro Della Beata Vergine 1610: Hymnus: Ave Maris Stella
Vespro Della Beata Vergine 1610: Versus Et Responsorium
Vespro Della Beata Vergine 1610: Antiphona VI, Canto Gregoriano: Hodie Maria Virgo Caelos Ascendit
Vespro Della Beata Vergine 1610: Son Sopra Sancta Maria

Tracks:

Vespro Della Beata Vergine 1610: Magnificat
Vespro Della Beata Vergine 1610: Oratio, Canto Gregoriano: Dominus Vobiscum
Vespro Della Beata Vergine 1610: Versus, Canto Gregoriano: Dominus Vobiscum
Vespro Della Beata Vergine 1610: Con: Duo Seraphim
Vespro Della Beata Vergine 1610: Antiphona Beatae Mariae Virginis: Salve Regina
Vespro Della Beata Vergine 1610: Versus Et Responsorium, Canto Gregoriano: Ora Pro Nobis
Vespro Della Beata Vergine 1610: Oratio, Canto Gregoriano: Domine Vobiscum
Vespro Della Beata Vergine 1610: Conclusio, Canto Gregoriano: Divinum Auxilium Maneat Semper...
Selva Morale E Spirituale 1641: Psalmus 109: Dixit Dominus
Selva Morale E Spirituale 1641: Psalmus 110: Confitebor Tibi Domine
Selva Morale E Spirituale 1641: Psalmus 111: Beatus Vir
Selva Morale E Spirituale 1641: Psalmus 112: Laudate Pueri
Selva Morale E Spirituale 1641: Psalmus 116: Laudate Dominum
Selva Morale E Spirituale 1641: Salve Regina

Customer Reviews:

Just beautiful.......2007-03-20

This CD captures both the gutsy energy and the ethereal beauty of Monteverdi's sacred choral music. I have neither performed nor even listened to his music for a long time, and this CD re-awakened me to its richness and compelling quality. There is a reason why we consider Monteverdi a "great" composer, and this CD shows it.

wonderful.......2005-09-28

The singing and playing on this recording are truly delightful. The overall concept of the work is good. I love this recording.

But, like too many recordings of the vespers, it includes gregorian chant antiphons sung between the movements. Now either Monteverdi wrote this piece as a "piece" to be performed, in which case I believe the solo movements were meant to take the place of the traditional chant, or it is a collection of wonderful psalm settings and other sacred movements, in which case what is the point of adding music not written by Monteverdi? The same argument goes for the instrumental sonatas thrown in here. My personal belief is that Monteverdi, the first great opera composer, wrote these psalm settings over a period of time, and then put them together with the other movements to make a unified whole for publication. The other recording I own of this work, Gardiner's first recording of it, has a much nicer flow because there is no chant.

I must say that I love the clarity this version gives with one voice on a line, and I play both cd's often.

A reasonable bargain(?).......2005-07-02

Claudio Monteverdi's Vespers of 1610 are increasingly becoming to be seen as a landmark work in the history of Western music. This is one of the most outstanding works of the late Renaissance composers of the Seconda Prattica (Second Pratice) amongst whom Monteverdi - one of the fathers of opera - was arguably the most forward looking. In fact Monteverdi is so forward looking he is often described as being an early Baroque composer. Elements of the work are highly conservative such as the widespread writing in multiple parts - a practice that had already become increasingly unusual by this time (and totally anachronistic by Bach's time), yet the entire work contains a fantastic profusion of colourful music and an instrumental ensemble which is varied to match the mood of each piece. In this regard his music can be compared to the paintings of Titian with its typical Venetian overflow of exuberance and colourfulness, that contrasts markedly with the Northern sobriety of the sacred works of Bach. This a work of unbridled sensuality and yet of luxurious refinement.

I have listened to this version of the Monteverdi Vespers for many years and have always somehow been left feeling partially dissatisfied by it despite the lavish praise heaped upon it by many reviewers over the years. Certainly it has it moments of greatness, yet I wish the reading as a whole would cohere more. Although the singers here are all stars, a star studded legion of singers do not an ensemble make. So I have waited years to find a recording that might surplant it. Years went by and recordings came and went without anything really grabbing my attention. Then recently I discovered a recording that seems to have eluded me: Masaaki Suzuki with the Bach Collegium Japan on the Swedish boutique label Bis (ASIN B00005K2BK).

Of course the virtues of their Bach are well known and many a reviewer has written their story of at first ridiculing the thought of a Japanese period instrument group to then being completely floored by their performances again and again. Suzuki seems to have everything I have every felt was missing in the Parrott, even if here and there Parrott has some altenative insights (the Nisi Dominus is an example where Suzuki seems dangerously over-exuberant!), these moments are rare exceptions. Suzuki fully captures that uninhibited Venetian exuberance of the writing bringing the whole together as a whole rather than just having sporadic moments. Still, the lush modal harmonies seem just that much more succulent and the resultant expressive impact is incomparable. For someone who has tolerated the Parrott for almost ten years the weight of burden being lifted was just huge!

For the price I guess if you need a budget version, then the Parrott is now competitive especially if you prefer your Monteverdi sung one to a part. However, the BIS recording for Suzuki is, as usual from them, just stunning. In the BIS recording there is far greater spaciousness and air around the instruments and voices, with timbre coming through in all its riches without being bleached. The BIS recoridng is fair audiophile quality (it is BIS policy to avoid compression devices or blatant post-production processing), that renders it first choice to anyone for whom recorded sound quality dictates preferences. The EMI recording for Parrott sounds like early 16-bit digital sound at its thinnest and boxiest - a fact exacerbated by the glassiness that comes with Virgin sound transfers (Virgin desperately need to review their remastering and digital transfer equipment/methods). You certainly get what you pay for.

So take your pick - the cheap and easy option of Parrott or the rich fullness of Suzuki's Dionysian exuberance. Also there is always Rinaldo Alessandrino version for those insistent on hearing this sung one to a part - the sound there is even better than on the BIS.

Punctilious Research and Performance Practice.......2004-12-29

Recorded in 1983 and 1984 at All Saints’ Church, Tooting (London), this double CD is still something of a classic, presenting Monteverdi’s 1610 Vespers in punctilious historical performance practice, basically using, despite the large forces involved, soloists to perform most of the material. Together with Hugh Keyte, Andrew Parrott researched the history of church music in Venice at the end of the 16th and the first half of the 17th centuries, and then arranged the Vespers in a form which, although certainly not the only one possible, would have been acceptable for sacred service at St. Mark’s Cathedral in Venice during the first years of Monteverdi’s tenure there. The one unhistorical aspect of the recording is the use of female sopranos, but as Andrew Parrott points out, the sound of "castrati" just cannot be reproduced today, and he feels that using boys or countertenors would not be as appropriate as using genuine soprano voices.

This is, of course, a very British production, and a large number of Britain’s early music stars (at least from the early 80’s) were involved in the production. There are solo passages sung by Emma Kirkby, David Thomas, Nigel Rogers, Tessa Bonner, Evelyn Tubb, Emily Van Evera, Margaret Philpot, Rogers Covey-Crump, Andrew King, Richard Wistreich and others, and the Taverner Players count some of Britain’s most distinguished period instrument players among their ranks: John Holloway, Micaela Comberti, Trevor Jones, Mark Caudle, Susan Sheppard, Jennifer Ward-Clarke, Francis Baines, Bruce Dickey, Lisa Beznosiuk, Rachel Beckett, Anthony Bailes, Nigel North, John Toll … and so the list goes on. If you are a fan of the British early music scene, you will have heard of all these names and will know what a wonderful treat awaits you when you turn your CD player on.

And a wonderful treat it is indeed, although the opening Gregorian chant with its empty church echo does sound a little strange. But from Track 2 onwards, the whole begins to sound glorious, a continuous stream of delightful vocal and instrumental passages with all the wonderful typically Monteverdian sounds that early music fans have come to appreciate. Special mention for Nigel Rogers, Andrew King and Joseph Cornwell who offer a superb “Duo seraphim” without the high-voiced contortions of a René Jacobs. Of the female soloists, only Emily Van Evera sounds a little sharp on occasion, but that is something that can be accepted in view of the total quality of the recording. Personally, I have come to love and appreciate this version a little more than Philip Pickett’s 90’s version for Decca’s early music imprint L’Oiseau-Lyre, where the sound is never quite so convincing as here.

Easily the best recording of the Vespers.......2004-03-13

Andrew Parrott's recording is rightly considered by critics and listeners alike as THE recording of Monteverdi's Vespers of 1610. Using minimal forces, the individual voices layering upon one another can be clearly heard, not drowned out into a mass of sound as in many "fuller" recordings. The only other "five-star" recording of the Vespers is the Konrad Junghanel with Cantus Colln.
If I could only own one recording of this work, the Andrew Parrott would me the one.

Average customer rating:

Monteverdi: The Sacred Music, Vol. 3

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-01-11

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A Fabulous Baroque CD:

The King's Consort Collection

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Binding: Audio CD

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Release Date: 2005-04-12

Customer Reviews:

A Fabulous Baroque CD: .......2006-08-27

I love baroque music, so this was a natural for me. I borrowed the CD 3 times from our library, and finally realized that I simply had to have it. It is sung by the King's Consort Choir, directed by Robert King, and using period instruments in the orchestral ensemble. They play pieces I was not familiar with, but which I have come to love, such as Monteverdi's Laetatus Sum, and old favorites like Vivaldi's Gloria. There is a fresh, beautiful sound that makes the music come really alive for me. I recommend it.

Average customer rating:

Warm and energetic
exquisite!

Monteverdi: Selva morale e spirituale

Manufacturer: Hmf Musique D'abord
ProductGroup: Music
Binding: Audio CD

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General | Chamber Music | Classical | Styles | Music

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ASIN: B00009IC6R
Release Date: 2003-10-14

Customer Reviews:

Warm and energetic.......2005-09-21

The voices are in tune and blend well together. The music is energetic and joyful. The group have a quality compared to a full bodied red wine with the flavours and smells of dark fruit, a hint of spice and chocolate. Inspirational to anyone who likes this period of music.

exquisite!.......2005-08-03

The clear pure voices with perfect pitch singing beautifully crafted compositions with energy and joy make this an excellent addition to any music library. I am repeatedly drawn back to this CD and can't seem to get enough of it. I highly recommend it to all who enjoy early music.

Average customer rating:

Great start to another classy Hyperion series

Monteverdi: The Sacred Music, Vol. 1

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Tracks:

Dixit (Dominus) Primo
Confitebor Primo
Beatus Vir I
Laudate Pueri Primo
Laudate Dominum Omnes Gentes
Christe Redemptor Omnium
Magnificat Primo
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei

Customer Reviews:

Great start to another classy Hyperion series.......2003-12-19

Not long ago, Robert King and The King's Consort completed a wonderful series of Purcell's vocal music for Hyperion. Their new series of sacred music by Monteverdi has the potential to meet the same high standards as that classic set. Light and lively, the Consort's performances make it easy to listen to a lot of Monteverdi in a single sitting. Plus, the series appears as if it will be sequenced with listeners in mind: no multiple settings of a single sacred text appearing on one CD, etc.

Nicely recorded with a good sense of Monteverdi's spatial effects, this sounds as if you're looking through a kaleidoscope of fascinating and constantly shifting images. Monteverdi's colorful genius and masterful ear for melody is on full display. And, as usual for Hyperion, the booklet notes are extremely literate and highly detailed, with translations provided for all of the texts and individual cueing of movements for the Mass.

Tracks:

A Minuit Fut Fait Un Reveil
Noels Pour Les Instruments: Noels Pour Les Instruments: Joseph est Bien Marie
Noels Pour Les Instruments: Or Nous Dites Marie
Noels Pour Les Instruments: Une Jeune Pucelle
Noels Pour Les Instruments: Vous Qui Desirez Sans Fin
Noels Pour Les Instruments: Ou S'en Vont Ces Gais Bergers
Hodie Christus Natus Est
Nun Jauchzet Mit Hellem Ton
Laudate Dominum - Claudio Monteverdi
Non Recedet Laus Tuus
Salve Regina - Claudio Monteverdi
The Blessed Virgin's Expostulation - Henry Purcell
Messe De Minuit Sur Des Airs De Noel: Messe De Minuit Sur Des Airs De Noel: Kyrie
Messe De Minuit Sur Des Airs De Noel: Gloria
Messe De Minuit Sur Des Airs De Noel: Credo
Messe De Minuit Sur Des Airs De Noel: Offertoire
Messe De Minuit Sur Des Airs De Noel: Snactus
Messe De Minuit Sur Des Airs De Noel: Agnus Dei

Customer Reviews:

A warm, joyful baroque Christmas celebration.......2004-12-07

The beautiful, varied, and well-chosen repertoire on this disc will keep you returning to it season after season. We start with a 17th-cantury French NOEL, lovingly and simply rendered a cappella by Richard Duguay. There follow some more French carols in instrumental arrangements by Marc-Antoine Charpentier, two traditional plainchants, some sumptuous madrigal-style pieces by Schein and Monteverdi, Purcell's florid and expressive vocal monologue for the Virgin Mary, and finally the most substantial piece on the disc: Charpentier's Christmas Midnight Mass, a very interesting work based on French carol themes. The performances by the Boston camerata are warm and vibrant. This early baroque Christmas disc is a real winner.

An excellent performance.......2000-09-18

This cd is the Baroque equivalent of the Medieval and Renaissance Christmas albums of the Boston Camerata. It has the least varied repetoire, in part because of the Charpentier Mass - Messe de Minuit sur des Airs de Noel, a work well worth having in its entirety. There are two pieces that are chant and a marvelous piece from Germany in an Italian style - Nun Jauchzet mit Hellem Ton - to which the notes say there are two sets of words, the one recorded here in praise of the Christmas festival, the other celebrating the amorous delights of nymphs. With such a delightful piece of trivia, how could the cd fail?

While the Boston Camerata gives its normal skilled performance, they are not as spectacular as they are on earlier music. They still are among the better interpreters of Baroque music, but it is not their speciality.

Tracks:

Pianto della Madonna: Confitebor a voce solo con violini
Pianto della Madonna: Sinfonia Terzo Tuono
Pianto della Madonna: Currite Populi
Pianto della Madonna: O quam pulchra es
Pianto della Madonna: Venite, videte
Pianto della Madonna: Jubilet a voce sola in Dialogo
Pianto della Madonna: Pianto della Madonna sopra il Lamento dell' Arianna
Pianto della Madonna: Ricercar del Decimo Tono
Pianto della Madonna: Salve, O Regina
Pianto della Madonna: Exulta, Filia Sion
Pianto della Madonna: Sinfonia Sesto Tuono
Pianto della Madonna: Ecce sacrum paratum
Pianto della Madonna: Toccata con minute
Pianto della Madonna: Laudate Dominum

Amazon.com

Monteverdi's larger choral pieces are so masterly that they tend to overshadow his chamber-scale sacred music--the solo works in particular. Occasionally one or two of these exquisite motets will appear on a collection such as Paul McCreesh's Venetian Vespers, but rarely do they become the focus of an entire recording as they are here. The much-admired early-music diva Maria Cristina Kiehr has a slightly constricted quality to her voice that won't appeal to everyone, but her very narrow vibrato colors her sound without affecting her accuracy of pitch, spotless coloratura, or blend with period instruments (played beautifully here by Concerto Soave). Kiehr also uses her command of dynamics and phrasing with a subtlety that really puts the rhetoric of each piece across--check out her echo effects and crescendos in the motet "for solo voice in dialogue" Jubilet and the joyful Laudate Dominum. Her gentle manner works especially well with the title track: the Pianto della Madonna is Monteverdi's own reworking of his famous Lamento d'Arianna as a solo depicting the Virgin Mary's grief at the foot of the Cross. The slightly overwrought distress of the original Lamento could be inappropriate to such a sacred subject, but Kiehr's emotive yet dignified approach in the Pianto has a genuinely moving effect. --Matthew Westphal

Customer Reviews:

This is the real Monteverdi.......2001-04-12

Searching for the right interpretation of this music it took me over 25 years to find this extraordinary performance by Maria Christina Kiehr e.o. Finally this wonderful music is interprated in my personal taste. But how could it not be, as Kiehr is a member of the 'Vlaamse School' with Rene Jacobs and Philippe Herreweghe as most prominent members and master teachers. If you listen i.e. to track 4: 'O quam pulchra es' then you might experience what I mean. This is the right way to travel to the real Monteverdi. She is at the same level as Andreas Scholl. I hope more musicians will realize this in the future. Well done Maria Christina, I know it was the hard way, because you experienced lots of criticism. I really hope you enjoy us with your lovely voice again and again in future. Every aincient music lover should take notice of this recording, it is a wonderfull experience. Five stars!

Exquisite small-scale Monteverdi from an impressive soprano.......2000-04-13

The more Monteverdi's music is performed and recorded the more apparent is his extraordinary versatily in composing music of supreme quality for secular and liturgical use. Although his surviving operas and his larger-scale liturgical compositions are well known, especially the magical Vespers of 1610 and his four-part Mass, the smaller liturgical works are only now receiving their due acknowledgement.

Harmonia Mundi's CD 'Pianto della Madonna' includes ten well-chosen motets for solo voice from various published collections, among them two from the best known, the 'Selva Morale e Spirituale' of 1640, with a pretty little sonata by Marini and three short organ pieces by Antegnati, Marini and Merulo. With the exception of the unique 'Pianto della Madonna', based on the famous 'Lamento dell'Arianna' from the lost opera, these fascinating counter-Reformation motets display two styles, some following the spare, elegant style of Peri and others the more elaborate and colourful one of Caccini, in which Monteverdi's operatic connections are on display. Among them are some truly lovely pieces, including the etherial 'O quam pulchra es', from Ghirlanda Sacra of 1625, and 'Jubilet', an intriguing echo-like dialogue very reminescent of the 'Due Seraphim' from the 1610 Vespers.

Tracks:

Dixit Dominus A 8 - David Thomas
Confitebor Tibi A 3 - David Thomas
Beatus Vir A 6 - David Thomas
Laudate Pueri A 5 - David Thomas
Laudate Dominum A 5 - David Thomas
Deus Tuorum Militum A 5 - David Thomas
Magnificat A 8 (Completed Par Andrew Parrott) - David Thomas
Jubilet, Motet Solo (In Dialogo) - David Thomas
Salve Regina A 5 - David Thomas

Tracks:

Intonation Del Nono Tono (Intonationi D'Organo, 1593) - John Toll
In Ecclesiis A 14 (Symphoniae Sacrae 11, 1615) - John Toll
Adoramus Te, Christe A 6 (Motetti In Lode D'Iddio Nostro Signore, 1623) - John Toll
O Quam Pulchra Es (Ghirlanda Sacra, 1625) - John Toll
Sonata Seconda (Sonate Concertante, Libro Secondo, 1629) - John Toll
Exulta, Filia Sion (Arie De Diversi, 1624) - John Toll
Sonata Da Chiesa A 3, Op.8 No8 'La Bevilaqua' (Sonata, Libro III, Opera 8, 1663) - (Allegro - Adagio - Allegro - Adagio - Presto Allegro) - John Toll
Crucifixus A 10 - John Toll
Aria: 'Clarae Stellae, Scintillate' - John Toll
Recitativo: 'Coeli Repleti Iam Novo Splendore' - John Toll
Aria: 'Nunc Jubilare' - John Toll
Alleluia - John Toll
Crucifixus A 6 - John Toll
Currite Populi (Ghirlanda Sacra, 1625) - John Toll
Christe, Adoramus Te (Mottetti In Lode D'Iddio Nostro Signore, 1620) - John Toll
Canzon VIII A 8 (Canzoni E Sonate, 1615) - John Toll
Fuga Del Nono Tono - John Toll
Magnificat A 14 (Symphoniae Sacrae II, 1615) - John Toll

Tracks:

Altri Canti Di Marte E Di Sua Schiera - John Toll
Ninfa Che Scalza Il Piede E Sciolto Il Crine - John Toll
Chi Voi Haver Felice E Lieto Il Core - John Toll
Hor Ch'El Ciel E La Terra E'L Vento Tace - John Toll
Lamento Della Ninfa: Non Havea Febo Ancora - John Toll
Altri Canti D'Amor, Tenero Arcierio - John Toll
Su, Pastorelli Vezzosi - John Toll
Vago Augelletto Che Cantando Vai - John Toll
Ballo: Volgendo Il Ciel Per I'Immortal Sentiero - John Toll

Tracks:

I Allegro - Alison Bury
II Largo E Pianissimo Sempre - Alison Bury
III Danza Pastorale: Allegro - Alison Bury
I Allegro Non Molto - Alison Bury
II Adagio - Alison Bury
III Presto: Tempo Impetuoso D'Estate - Alison Bury
I Allegro - Alison Bury
II Adagio Molto: Ubriachi Dormienti - Alison Bury
III Allegro: La Caccia - Alison Bury
I Allegro Non Molto - Alison Bury
II Largo - Alison Bury
III Allegro - Alison Bury
I Allegro - Alison Bury
II Largo - Alison Bury
III Allegro - Alison Bury
I Allegro - Alison Bury
II Andante - Alison Bury
III Presto - Alison Bury
I Presto - Alison Bury
II Adagio - Alison Bury
III Allegro - Alison Bury

Tracks:

Kyrie (Canto Gregoriano: Missa Cum Jubilis) - Nancy Argenta
I Gloria In Excelsis - Nancy Argenta
II Et In Terra Pax - Nancy Argenta
III Laudamus Te - Nancy Argenta
IV Gratias Agimus Tibi - Nancy Argenta
V Propter Magnam Gloriam Tuam - Nancy Argenta
VI Domine Deus - Nancy Argenta
VII Domine Fili Unigenite - Nancy Argenta
VIII Domine Deus, Agnus Dei - Nancy Argenta
IX Qui Tollis Peccata Mundi - Nancy Argenta
X Qui Sedes Ad Dexteram Patris - Nancy Argenta
XI Quoniam Tu Solus Sanctus - Nancy Argenta
XII Cum Sancto Spiritu - Nancy Argenta
Sinfonia In B Minor 'Al Santo Sepoicro' RV 169 - Nancy Argenta
Laetatus Sum (Salmo 21) RV 607 - Nancy Argenta
Ave Maris Stella, Hymnus (Canto Gregoriano) - Nancy Argenta
I Magnificat Anima Mea - Nancy Argenta
II Et Exsultavit - Nancy Argenta
III Et Misericordia - Nancy Argenta
IV Fecit Potentiam - Nancy Argenta
V Esurientes Implevit - Nancy Argenta
VI Suscepit Israel - Nancy Argenta
VII Sicut Locutus Est - Nancy Argenta
VIII Gloria Patri - Nancy Argenta
IX Salve Regina (Antiphona, Canto Gregoriano) - Nancy Argenta
Laudate Dominum Omnes Gentes (Salmo 116) RV 606 - Nancy Argenta
Sonata In E Flat Major 'Al Santo Sepoicro' RV 130 - Nancy Argenta
In Exitu Israel (Salmo 113) RV 604 - Nancy Argenta

Customer Reviews:

GLORIOUS!.......2006-03-28

Wow- is the first word that comes to mind in regards to this boxed set. This set is what made me fall in love with the Taverner Consort under the direction of Andrew Parrott. His interpretations of such hits as Gabrielli's "In eclesiis" and Vivaldi's "Four Seasons" have breathed new life into this genre. I've not heard the solo of "The Four Seasons" played with as much zeal, as much independent, stylized freedom. Oh! I almost forgot- Andrew's rendition of Vivaldi's "Gloria" is not to be missed. While not as robust as a choral setting, this version lands ever so sweetly on the ear. This is a must-have boxed set and a great introduction to Andrew Parrot and the Taverner Consort.