Palmeri: Magnificat / Litowska, Capella Bydgostiensis, Astrolabium Choir

$21.99
Label
DUX
Release Date
June 30, 2017
Format
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    Featuring ⌄
    • COMPOSER
      PALMERI, MARTIN
    • ORCHESTRA / ENSEMBLE
      Chamber Orchestra Capella Bydgostiensis, ?Astrolabium? Choir
    • PERFORMER
      Litowska, Turalska, Schmidt, Pietrodar
    Product Details ⌄
    • RELEASE DATE
      June 30, 2017
    • UPC
      5902547013435
    • CATALOG NUMBER
      DUX1343
    • LABEL
      DUX
    • NUMBER OF DISCS
      1
    • GENRE
      Classical
    Works ⌄

    1. Magnificat anima mea Dominum (Soprano, Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Aleksandra Turalska, Elżbieta Biskupska, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    2. Et exutavit spiritus meus (Soprano)

      Composer: Martín Palmeri

      Ensemble: Capella Bydgostiensis

      Performer: Aleksandra Turalska, Elżbieta Biskupska, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    3. Quia respexit humilitatem (Soprano, Mezzo-soprano, Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Aleksandra Turalska, Agata Schmidt, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    4. Quia fecit mihi magna (Soprano, Mezzo-soprano, Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Aleksandra Turalska, Agata Schmidt, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    5. Et Misericordia eius (Soprano, Mezzo-soprano)

      Composer: Martín Palmeri

      Ensemble: Capella Bydgostiensis

      Performer: Aleksandra Turalska, Agata Schmidt, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    6. Fecit potentiam (Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    7. Deposuit potentes (Soprano, Mezzo-soprano)

      Composer: Martín Palmeri

      Ensemble: Capella Bydgostiensis

      Performer: Aleksandra Turalska, Agata Schmidt, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    8. Esurientes (Soprano, Mezzo-soprano, Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Aleksandra Turalska, Agata Schmidt, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    9. Suscepit Israel (Soprano, Mezzo-soprano, Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Aleksandra Turalska, Agata Schmidt, Elżbieta Biskupska, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    10. Sicut locutus est (Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska

    11. Gloria (Chorus)

      Composer: Martín Palmeri

      Ensemble: Chór Astrolabium, Capella Bydgostiensis

      Performer: Elżbieta Biskupska, Mario Stefano Pietrodarchi, Martín Palmeri

      Conductor: Kinga Litowska


Martín Palmeri began to work on the Magnificat dedicated to mixed choir, soprano and mezzo-soprano solo, string orchestra, bandoneon, and piano in 2010. He was guided by an idea to create a piece, which would be stylistically and emotionally close to the Misa a Buenos Aires – Misatango, yet much more difficult for the performers, and more sophisticated as far as the rhythm and polyphony are concerned. The composition was ended in 2012 and its world premiere took place in Milan. The source of the text of the Magnificat is the Gospel of Luke (1:46-55). The evangelist consciously combines three pictures into a triptych: Annunciation, Visitation, and the Marian Magnificat. The Humble Servant is chosen for the Mother of the Son of God. She starts a journey to visit her relative, Elizabeth, who will soon become mother of John the Baptist. Elizabeth greets Mary and She answers her with words of a canticle praising God. While Palmeri was composing the Magnificat, he was drawing inspiration from the Argentinian tango nuevo popularized in the greatest extent by Astor Piazzolla, who modernized the traditional Argentinian tango and enriched it with elements of jazz and Argentinian folklore; however, the references to the tango in the Magnificat do not concern only the orchestral layer of the piece. Despite the fact that the basic carrier of the tango’s idiom are the bandoneon and the orchestra, its element also crosses the vocal layer of the piece, as it is also the solo voices and choir that abound in the tango rhythms. The bandoneon in Palmeri’s music changes its facets as a chameleon: once it rhythmically energizes the sound layer, the other time it limits itself to highlight the accents occurring on particularly important words, and sometimes it accompanies the solo voices duo, subtly surrounding their narration.