The edition for this premiere recording has been made by Karl Böhmer, who has provided an informative introductory essay, and Oliver Mattern. Gérard Lesne has made something of a speciality of Scarlatti’s music and his lively direction of Sedecia benefits from his fluent handling of dramatic and stylistic aspects of the work… A splendid achievement.

Handel's stay in Italy between the years 1706 and 1710 resulted in a time of intense creative activity, and he quite naturally gravitated towards the cantata.

Depuis plus d'une décennie, Gérard Lesne poursuit un splendide travail de redécouverte du répertoire baroque sacré, qu'il chante avec sa voix merveilleuse de haute- contre, accompagné de son ensemble Il Seminario Musicale. Ce disque est l'occasion de les retrouver dans de très beaux Motets de Scarlatti - Alessandro Scarlatti, le père de Domenico, l'auteur des fameuses 555 sonates pour clavier. Tout est subtilité, douceur et expression, comme toujours avec Gérard Lesne.

The services of Matins and Lauds in the Roman rite for the last three days of Holy Week, the so-called Sacred Triduum are – or were before being replaced by the vernacular liturgy – beautiful and complex. Matins for Maundy Thursday, Good Friday and Holy Saturday consist of psalms with antiphons, readings from the Lamentations of Jeremiah and versicles and responsories related to and reflecting upon the events of those days. Over the centuries they have proved fruitful inspiration for music, even in post-reformation England, where the Book of Common Prayer continued to prescribe readings from Lamentations and settings of them, often in Latin, continued to be sung in cathedrals and collegiate churches.

I cannot help feeling that Alessandro Stradella is possibly still one of the major unexplored talents of baroque music. I say this, not because I personally know of piles of forgotten masterpieces by him, but simply because when there is so much of his music that has not been recorded or made available in modern editions, and when what one does get to hear suggests so much talent (the powerful oratorio San Giovanni Battista, for instance), it makes you wonder just what else there might be waiting to be discovered.

Among the dozens or perhaps hundreds of available recordings of Pergolesi's Stabat Mater, a subgroup of recent ones has emphasized its very operatic style. Within this group, performers have gone in various directions, but a single one is represented here: sheer vocal beauty of a sort that just doesn't come along every day. The vocal line trumps the dramatic meaning of the text here, but the duets between soprano Véronique Gens and countertenor Gérard Lesne are so gorgeous that you just won't care.

Gérard Lesne founded the Il Seminario musicale Ensemble in 1985. Since 1990, the Ensemble has been in residence at the Royaumont Foundation, where it attracts vocalists and instrumentalists who share Lesne's enthusiam for the 17th and 18th century Italian repertoire. The musicians perform on old instruments and strive to reproduce as faithfully as possible the lilt and narrative line characteristic of the baroque style as expressed in works by composers such as Monteverdi, Cavalli, Scarlatti, Vivaldi, Caldara, Pergolesi, and the others. The size of the ensemble is variable depending on the repertoire. Based on a rich and varied continuo section (theorbo, cello, basson, double bass, organ and harpsichord) supporting one or more soloists, it can be expanded with the addition of a string quartet to make a small chamber orchestra suitable for performing chamber operas.

The cantata, to some extent, is a development from the madrigal that appeared in Italy at the start of the seventeenth century. While the madrigal was refined and delicate, the cantata evolved because composers felt the need to introduce a dramatic narrative element into vocal chamber music and thusly the music took a lighter, wittier turn.
Scarlatti is considered as one if the initiators, and also one of the reformers of this genre, whose outlines he established. In his cantatas for a single solo voice and continuo, Scarlatti treats the latter as a true partner of the voice.