Vittorio Negri, Kenneth Sillito - Domenico Cimarosa: Requiem & Concertante in sol maggiore (1994)
Vittorio Negri, Orchestre de Chambre de Lausanne, Kenneth Sillito, Academy of St Martin in the Fields - Domenico Cimarosa: Requiem & Concertante in sol maggiore (1994)
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 77:11 | Scans included
Classical | Label: Philips | # 0289 442 6572 9 | Recorded: 1969, 1986
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 77:11 | Scans included
Classical | Label: Philips | # 0289 442 6572 9 | Recorded: 1969, 1986
Early in December 1787 Catherine II of Russia invited the famous composer to her court at St Petersburg where Italian opera was all the rage. A few days after his arrival the wife of the ambassador of Naples and Sicily died and Cimarosa was asked by him to compose a Requiem Mass for the funeral. Composers did not need to bother about being original in those days and Cimarosa could draw easily on a common stock of melodic ideas, but, nevertheless, his Mass is well shaped and certainly not a mere puce d'occasion. He unifies it by recapitulating the theme in the orchestral introduction to the Introit and sometimes also the vocal setting of "Requiem aeternam" at various points, as for example, in "Dies irae", "Tuba mirum" and the end of "Lacrymosa", and at the close of the work after the conventional fugue. It was certainly an original idea to allot "Tuba mirum" to the solo soprano and at this point the two horns are first added to the prevailing strings. There is little drama in "Dies irae", mostly straightforward chordal writing, with occasional imitative passages. Even if the music is not profound it is not trivial, though it is naturally at its most operatic in some of the numbers for the soloists, notably "Preces meae" for tenor and strings—in which the singer starts on a high and sustained B flat—and there are many expressive passages. Cimarosa secures plenty of variety by alternating solos with chorus, giving the solo soprano and contralto duets and, in one of the best sections, soprano, contralto and bass each a verse of the text before uniting them in a trio. The brief "Benedictus" for chorus is also notable.
Vittorio Negri edited and prepared the manuscript of the work—which he found in the library of Einsiedeln Abbey, Switzerland and performed it with the above forces–except for the tenor and bass soloists—at the Montreux Festival when it aroused great interest. The performance and recording are excellent and the conductor never gives the music more weight than it can bear.
Elly Ameling sings her part, as one would expect, beautifully and Birgit Finnila. though rather too restrained and too inclined to portandos, is at least adequate. I liked the unusual timbre of Richard van Vrooman's tenor voice, and Kurt Widmer, the bass, is good too. The chorus and orchestra sound to be just the right size and are both excellent.–Gramophone
Performer:
Requiem g-moll
Elly Ameling, soprano
Birgit Finnila, mezzo-soprano
Richard van Vrooman, tenor
Kurt Widmer, bass
Orchestre de Chambre de Lausanne
Vittorio Negri, conductor
Concertante in sol maggiore per flauto, oboe e orchestra
Aurele Nicolet, flauto
Heinz Holliger, oboe
Academy of St Martin in the Fields
Kenneth Sillito, conductor
Tracklist:
Requiem
01. Introitus: Requiem aeternam
02. Kyrie
03. Graduale – Tractus: In Memoria Aeterna
Sequentia
04. Dies Irae
05. Tuba Mirum
06. Mors Stupebit
07. Judex Ergo
08. Rex Tremendae
09. Recordare
10. Ingemisco
11. Preces Meae
12. Inter Oves
13. Lacrymosa
14. Offertorium: Domine Jesu
15. Sanctus
16. Benedictus
17. Agnus Dei
18. Communio: Lux Aeterna
Concertante in sol maggiore per flauto, oboe e orchestra
19. Allegro
20. Largo
21. Rondo. Allegretto ma non tanto
Exact Audio Copy V1.6 from 23. October 2020
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Vittorio Negri, Orchestre de Chambre de Lausanne / Cimarosa - Requiem
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==== Log checksum AEF37804E0D8D6DB3AE788AA110CE3576C302AE9B2EFFAAF968DEA0222BD2B49 ====
Vittorio Negri, Kenneth Sillito - Domenico Cimarosa: Requiem & Concertante in sol maggiore (1994)
