Domenico Scarlatti - Stabat Mater - Vox Luminis

Posted By: btraven

Date: Jan. 11, 2011

There is nobody who has not come across one or another of Domenico Scarlatti's 555 keyboard sonatas, for they are the most celebrated part of his body of work. Who, however, knows anything of the fifteen operas and the dozens of arias, duets and cantatas, or of his oratorios and various other sacred works?

The most famous sacred work by Domenico Scarlatti is of course the Stabat Mater for ten voices and continuo; the number of manuscript copies of the work that have survived is proof enough of the work's reputation. All available evidence leads us to believe that it was composed in Rome for the Cappella Giulia. Its vocal layout is extremely surprising, as there is no question of any double choir format, but rather one ensemble of ten solo voices: 4 sopranos, 2 altos, 2 tenors and 2 basses. There is also no question of a group of 5 soloists and 5 ripieno singers; the ten voices are of equal importance and the score is unceasing in its demands for different combinations of the voices available. This variety of layout and organisation for groups of 2 to 10 voices endows the score with great originality and never ceases to provide contrasting sonorities. The voices are grouped in pair in two places only, in passages for 5 parts at the beginning of the "Eja mater" and the finale of the "Amen" . The emotionally charged text of the Stabat Mater here finds one of its finest musical expressions, formed from extreme harmonic stresses and poetically tender passages, most of these being in slow tempi. Only two verses are marked allegro: the 8th verse "lnftammatus" , with its virtuoso writing for the tenor and soprano and the 9th verse in fugato style "Fac ut animae donetur paradisi gloria" that introduce the brilliant concluding "Amen" . Given that Italian tradition in Stabat Maters of the 18th century (those of Pergolesi, Vivaldi, and later Boccherini) did not hesitate to use alternating contrasted tempi that were not necessarily always in direct correlation with the text, Scarlatti's vision of the piece is darker and more meditative, more bound to the text in a way that is almost madrigalesque. It is only when the light of the entrance to Paradise is described that the music gains momentum, concluding with the undeniably dance-like character of the final 3/8Amen.

Domenico Scarlatti - Stabat Mater - Vox Luminis

Te Deum laudamus
1. Te Deum Laudamus 3'31
2. Te ergo quaesumus Salve Regina 3'25

Salve Regina
3. Salve Regina (Adagio) 2'08
4. Ad te clamamus (Moderato) 1'25
5. Eja ergo (Moderato) 0'52
6. Et Jesum benedictum (Adagio) 1'46
7. O Clemens (Adagio) 2'00

8. Sonate en re mineur K. 417 6'07
orgue Thomas de J'abbaye de Maredsous

Stabat Mater
9. Stabat Mater dolorosa 3'03
10. Cujus animam gementem 4'24
11. Quis non posset 2'40
12. Eja mater, fons amoris 1'51
13. Sancta Mater, istud agas 3'04
14. Fac me vere tecum ftere 0'53
15. Juxta crucem 1'53
16. lnftammatus et accensus 3'06
17. Fac ut animae donetur paradi si gloria / Amen 3'51

18. Sonate en si mineur K. 87 6'32
orgue Thomas de I 'abbaye de Maredsous

19. Miserere 11'44

VOX LUMINIS
Zsuzsi Tóth, Sarah Abrams, Sara Jäggi, Helen Cassano, sopranos
Paulin Biindgen, Jan Kullmann, contre-tenors
Joao Sebastiao, Robert Buckland, ténors
Bertrand Delvaux, Lionel Meunier*, basses
Nissinen, orgue
Jan Cizmar, theorbe
Ricardo Rodriguez Miranda, basse de viole

Ricercar 2007

EAC

X Lossless Decoder version 20101128 (126.0)

XLD extraction logfile from 2010-12-11 19:48:39 -0600

Scarlatti - Vox Luminis / Domenico Scarlatti - Stabat Mater

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