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Scarlatti, A: Cecilian Vespers, etc.

Susanne Rydén and Dominique Labelle (sopranos), Ryland Angel (countertenor), Michael Slattery (tenor), Neal Davies (baritone/chanteur)

Philharmonia Baroque Ensemble, Philharmonia Chorale, Nicholas McGegan

Scarlatti's Vespers were composed for a service at the Roman church of Santa Cecilia in Trastevere in 1721. He was in his sixties by then, his music out of fashion, and one can sense that with...

Scarlatti, A: Cecilian Vespers, etc.

Susanne Rydén and Dominique Labelle (sopranos), Ryland Angel (countertenor), Michael Slattery (tenor), Neal Davies (baritone/chanteur)

Philharmonia Baroque Ensemble, Philharmonia Chorale, Nicholas McGegan

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Scarlatti's Vespers were composed for a service at the Roman church of Santa Cecilia in Trastevere in 1721. He was in his sixties by then, his music out of fashion, and one can sense that with...

About

World renowned Baroque specialist Nicholas McGegan and his San Francisco-based Philharmonia Baroque Orchestra – Musical America’s Ensemble of the Year in 2004 – debut on Avie with the world premiere recording of The Cecilian Vespers by Alessandro Scarlatti. One of the few authentic Vespers of the early 18th century, the manuscripts of Scarlatti’s Psalm and antiphon settings were discovered in locations all over Europe and reunited with the original plainsong to create the current version - a genuine full-scale baroque Vespers created specifically for a celebration of St. Cecilia's Day in Rome between 1720 and 1721. The 2-disc set also includes Scarlatti’s Nisi Dominus, Salve Regina and Audi, Filia. His remarkably inventive music in these vibrant performances benefits greatly from the Hybrid SACD technology.

(World Premiere Recording)

Contents and tracklist

Dixit Dominus: Dixit Dominus
Track length5:26
Dixit Dominus: Juravit Dominus
Track length2:09
Dixit Dominus: Dominus a dextris
Track length1:41
Dixit Dominus: De torrente
Track length4:08
Dixit Dominus: Gloria Patri
Track length1:07
Dixit Dominus: Sicut erat
Track length1:06
Dixit Dominus: Amen
Track length1:23
Cantantibus organis
Track length5:24
Valerianus
Track length0:21
Laudate pueri: Laudate pueri
Track length2:42
Laudate pueri: A solis ortu
Track length4:37
Laudate pueri: Quis sicut
Track length1:19
Laudate pueri: Et humilia
Track length2:04
Laudate pueri: Suscitans
Track length1:35
Laudate pueri: Ut collocet
Track length2:35
Laudate pueri: Amen
Track length1:28
Valerianus
Track length6:02
Cecilia, famula
Track length0:25
Laetatus sum: Laetatus sum
Track length3:44
Laetatus sum: Illuc enim
Track length1:39
Laetatus sum: Quia illic
Track length2:29
Laetatus sum: Fiat pax
Track length1:20
Laetatus sum: Propter fratres
Track length4:18
Laetatus sum: Glora Patri
Track length1:30
Laetatus sum: Amen
Track length2:10
Nisi Dominus: Nisi Dominus
Track length1:49
Nisi Dominus: Gloria Patri
Track length1:13
Jesu, corona: Jesu, corona
Track length1:04
Jesu, corona: Qui pergis
Track length1:15
Jesu, corona: Quocumque tendis
Track length2:07
Jesu, corona: Te deprecamur
Track length1:39
Jesu, corona: Virtus, honor
Track length1:43
Magnificat
Track length4:50
Fecit potentiam
Track length2:36
Gloria Patri
Track length1:33
Nisi Dominus
Track length3:24
Vanum
Track length2:13
Cum dederit
Track length2:32
Sicut sagittae
Track length1:15
Beatis vir
Track length2:00
Gloria Patri
Track length1:40
Amen
Track length1:34
Salve Regina
Track length4:08
Ad te
Track length4:49
Eja ergo
Track length2:41
O clemens
Track length3:09
Audi, filia
Track length4:22
Specia tua
Track length2:14
Alleluia
Track length3:29
Alleluia
Track length1:28

Awards and reviews

2010

Scarlatti's Vespers were composed for a service at the Roman church of Santa Cecilia in Trastevere in 1721. He was in his sixties by then, his music out of fashion, and one can sense that with this friendly commission he was relishing the free- dom to be himself, revisiting all his old skills in vocal brilliance, melodic charm, graceful counterpoint and succinctly effective word-setting.
There are echoes of Handel and Vivaldi, though given Scarlatti's eminence in his own time it might be more appropriate to think of things the other way round. And if in the end it lacks either Handel's grandeur or Vivaldi's spark, it's palpably the work of a master. The performance is expertly shaped and paced by Nicholas McGegan.
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