Perez: Mattutino De' Morti / Invernizzi, Vitale, Prandi, Coro E Orchestra Ghislieri

$11.99
Label
Arcana
Release Date
January 8, 2021
Format
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    Featuring ⌄
    • COMPOSER
      PEREZ, DAVIDE
    • ORCHESTRA / ENSEMBLE
      Coro E Orchestra Ghislieri
    • PERFORMER
      Prandi, Invernizzi, Vitale
    Product Details ⌄
    • RELEASE DATE
      January 08, 2021
    • UPC
      3760195739068
    • CATALOG NUMBER
      A906
    • LABEL
      Arcana
    • NUMBER OF DISCS
      1
    • GENRE
      Classical
    Works ⌄

    1. Primo notturno: Responsorio primo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Roberta Invernizzi, Francesca Boncompagni, Karin Selva, Salvo Vitale

      Conductor: Giulio Prandi

    2. Primo notturno: Responsorio secondo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Roberta Invernizzi, Salvo Vitale

      Conductor: Giulio Prandi

    3. Primo notturno: Responsorio terzo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Roberta Invernizzi, Francesca Boncompagni, Marta Fumagalli, Salvo Vitale

      Conductor: Giulio Prandi

    4. Secondo notturno: Responsorio primo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Francesca Boncompagni, Karin Selva, Salvo Vitale

      Conductor: Giulio Prandi

    5. Secondo notturno: Responsorio secondo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Roberta Invernizzi, Francesca Boncompagni, Karin Selva, Marta Fumagalli, Luca Cervoni, Salvo Vitale

      Conductor: Giulio Prandi

    6. Secondo notturno: Responsorio terzo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Roberta Invernizzi, Francesca Boncompagni, Marta Fumagalli, Luca Cervoni

      Conductor: Giulio Prandi

    7. Terzo notturno: Responsorio primo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Francesca Boncompagni, Karin Selva, Marta Fumagalli, Luca Cervoni, Salvo Vitale

      Conductor: Giulio Prandi

    8. Terzo notturno: Responsorio secondo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Francesca Boncompagni, Karin Selva, Marta Fumagalli, Luca Cervoni, Salvo Vitale, Marco Bussi

      Conductor: Giulio Prandi

    9. Terzo notturno: Responsorio terzo

      Composer: David Perez

      Ensemble: Ghislieri Choir & Consort, Ghislieri Orchestra

      Performer: Roberta Invernizzi, Francesca Boncompagni, Karin Selva, Marta Fumagalli, Luca Cervoni, Salvo Vitale

      Conductor: Giulio Prandi


Davide Perez, born in Naples in 1711, has a personal history that strictly entwines with Portugal: thanks to his internationally achieved reputation – he was already renowned in Europe for his successful opere serie -, in 1752 he was invited by King Josè I to become maestro di cappella and he also made him Cavalier of the Order of Christ. His Mattutino de’ Morti is a true masterpiece, placed at the very heart of the project devoted to the rediscovery of the 17th century Italian sacred repertoire by the Centro di Musica Antica della Fondazione Ghislieri. Composed and performed for the first time in 1770, it was associated to the pilgrimage to Nossa Senhora do Cabo- a sanctuary constructed in 1701 at Cabo Espichel, on the site of an apparition of the Virgin Mary, facing the Atlantic Ocean. The use of an Office of the Dead at the end of a pilgrimage was a way to honor the dead pilgrims dating back to the Middle Ages that was revived under the request of the Portuguese monarchy. The Mattutino was adopted by the Brotherhood of S. Cecily in Lisbon next to Jommelli’s and Mozart’s Requiems and performed during the annual ceremonies to honor the deceased musicians up until the end of the XIXth century. The piece, written for five soloists, choir and orchestra, makes a fine use of the stile concertato, distributing the liturgical text in contrasting movements. The perfect rhetorical expression is conveyed through some elaborate and intimate vocal sections, in which the influence of opera tradition, alternating with choral sections of astonishing power, is clear.