Frescobaldi: Messa sopra l'aria della Monica & Motets
Guiseppe Maletto (tenor), Roberto Abbondanza (baritone), Michel van Goethem (counter-tenor), Attilio Cremonesi (organ), Pascal Bertin (counter-tenor), Furio Zanasi (baritone)
Il Teatro Armonico, Alessandro De Marchi
very fine instrumental playing and the rare opportunity to enjoy Frescobaldi’s finest sacred music in a liturgical context.
Frescobaldi: Messa sopra l'aria della Monica & Motets
Guiseppe Maletto (tenor), Roberto Abbondanza (baritone), Michel van Goethem (counter-tenor), Attilio Cremonesi (organ), Pascal Bertin (counter-tenor), Furio Zanasi (baritone)
Il Teatro Armonico, Alessandro De Marchi
Purchase product
very fine instrumental playing and the rare opportunity to enjoy Frescobaldi’s finest sacred music in a liturgical context.
About
From 1608 Frescobaldi was the organist at St Peter's Basilica in Rome. In 1615 a new basilica was built with two fine organs upon which Frescobaldi performed his famous improvisatory toccatas during ceremonial occasions but he was also expected to provide vocal and choral works for his patron, the Ferrara based Este efamily. It is likely that the Mass 'Sopra l’aria della Monica' was performed in the basilica and based on a popular tune. The 'aria della Monica' was a secular song, quite often used for keyboard variations and instrumental compositions. The mass reflects common practice in Rome in that is scored for eight voices in two choirs and is a beautifully crafted example of late 17th-century Italian church music. Amongst the singers are such familiar names as Rossana Bertini, Giuseppe Maletto (both La Venexiana, La Compagnia del madrigale), Marco Beasley, or Furio Zanasi. Musical direction is in the able hands of Alessandro De Marchi. Formerly available on the Symphonia label, recorded in 1993. Virtually no competition.
Contents and tracklist
- Guiseppe Maletto (tenor), Roberto Abbondanza (baritone), Michel van Goethem (countertenor), Attilio Cremonesi (organ), Pascal Bertin (countertenor), Furio Zanasi (baritone)
- Teatro Armonico, Il
- Alessandro De Marchi
- Recorded: October 1992
- Recording Venue: Chiesa di S. Sisto, Piacenza, Italy
Awards and reviews
Early Music Review October 2014
very fine instrumental playing and the rare opportunity to enjoy Frescobaldi’s finest sacred music in a liturgical context.
Awards Issue 2014
The sound is often a bit rough around the edges but the fluent and skilful performance of the three-part motet Ego sum panis vivus...contradicts criticism by the 17th-century writer Antimo Liberati that Frescobaldi was 'unhappy and inept as a composer of vocal music'.
