Cavalli: Messa Concertata, etc.

Release Date: 28th Feb 2005
Catalogue No: CDH55193
Label: Helios
Length: 64 minutes

Cavalli: Messa Concertata

Work length18:58

$3.05

$3.75

The Parley of Instruments, Seicento
Peter Holman

I. Kyrie

Track length5:05

$1.00

$1.25

II. Gloria

Track length13:53

$2.05

$2.50

Cavalli: Canzona a 6

Work length4:30

$1.00

$1.25

The Parley of Instruments
Peter Holman

Cavalli: O quam suavis et decora

Work length3:32

$1.00

$1.25

Philippa Hyde (soprano), Timothy Roberts (organ)

Cavalli: Messa Concertata

Work length12:36

$2.05

$2.50

The Parley of Instruments, Seicento
Peter Holman

III. Credo

Track length12:36

$2.05

$2.50

Cavalli: Canzona a 4

Work length4:00

$1.00

$1.25

The Parley of Instruments
Peter Holman

Cavalli: Messa Concertata

Work length3:08

$1.00

$1.25

The Parley of Instruments, Seicento
Peter Holman

IV. Sanctus and Benedictus

Track length3:08

$1.00

$1.25

Cavalli: O bone Jesu, O Jesu amabilis

Work length4:54

$1.00

$1.25

Carys Lane (soprano), Rodrigo del Pozo (tenor)
The Parley of Instruments
Peter Holman

Cavalli: Canzona a 3

Work length5:10

$1.00

$1.25

The Parley of Instruments
Peter Holman

Cavalli: Messa Concertata

Work length3:22

$1.00

$1.25

The Parley of Instruments, Seicento
Peter Holman

V. Agnus Dei

Track length3:22

$1.00

$1.25

Cavalli: Canzona a 8

Work length3:55

$1.00

$1.25

The Parley of Instruments
Peter Holman

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About

Francesco Cavalli was born on 14 February 1602 in the Venetian city of Crema where he was a choirboy in the cathedral. He entered the choir of St Mark's Venice in 1616 as a treble and worked there (with the exception of an extended visit to Paris from 1660 until 1662) until his death in 1676. He became second organist in 1639, first organist in 1665, and maestro di capella in 1668. At St Mark's High Mass was virtually a continuous concert. The five movements of the Mass Ordinary would be interspersed with offertory and communion motets and with ensemble sonatas. While this recording is not meant to be an exact reconstruction of any particular service, it does seem important to include these additional pieces in their proper liturgical positions; they provide the sort of contrasts in scoring, idiom and mood that Cavalli would have been expecting when he wrote his Messa Concertata, the work which stands at the head of his Musiche sacre, the volume published in 1656 containing the majority of his surviving works. The Mass can therefore be regarded as being among his finest compositions.

Cavalli: Messa Concertata, etc.

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