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
Purchase product
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
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
- Philharmonia Baroque Orchestra, Labelle, Ryden, Angel, Slattery, Davies (soloist)
- Nicholas McGegan
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.
