The Stabat Mater is a 13th-century Catholic hymn to Mary, which portrays her suffering as Jesus Christ's mother during his crucifixion. Its author may be either the Franciscan friar Jacopone da Todi or Pope Innocent III. The title comes from its first line, Stabat Mater dolorosa, which means "the sorrowful mother was standing". The hymn is sung at the liturgy on the memorial of Our Lady of Sorrows. The Stabat Mater has been set to music by many Western composers.
The re-master of a 1974 Decca Record recording is excellent in execution and style. Neveille Marriner and St. Martin-in-the-Fields perform in their typical excellent manner.
This recording is part of the Naïve label's Vivaldi Edition, a complete recording, scheduled to run to 100 discs, of a trove of Vivaldi manuscripts unearthed at the library of the National University of Turin. The recordings have been divided up among various mostly young Italian Baroque interpreters, with a pleasing variety of approaches.
Today we know that the reason for this penetration of Italian musical tastes into the small principality of Weimar lay elsewhere: the passion of the young prince Johann Ernst of Saxony for the Venetian concertos (and those of Vivaldi in particular). During the prince’s long period of study in Amsterdam, he had occasion to enjoy the exhibitions on the organ in the local Nieuwe Kerk by the blind virtuoso Jan Jacob de Graaf.
The "Concerto grosso" was eminently popular in Europe at the beginning of the 18th century, Arcangelo Corelli having set the trend with his Opus 6 published around 1710, but probably written much earlier. The main attraction seems to have been the possibilities opened up by having two groups of musicians in dialogue with one another.
This recording presents music by two Scarlattis: Alessandro (1660-1725), composer of innumerable vocal and chamber works, and his son Domenico (1685-1757), famous mostly for his several hundred keyboard sonatas. Alessandro is represented by six Concerti Grossi, a Sonata, and a Sinfonia; Domenico by three Sinfonias. All feature solo instruments: harp, recorder, and most prominently, violins and continuo cello.
Akademie für Alte Musik Berlin perform a selection of Telemann's Concerti per molti stromenti - works that feature many unusual and wonderful instrumental combination, and an amazing variety of styles. If you ever wondered where Bach got the idea for the Brandenburg Concertos, look no further than the concertos of Telemann.
Handel's unrivaled masterpieces of the concerto grosso form and style–his Twelve Grand Concertos, in seven parts, for four violins, a tenor, a violoncello, with a thorough-bass for the harpsichord–here receive their finest recording to date, with performances that leave all others–both period- and modern-instrument versions–in their wake. For obvious reasons these 12 concertos have remained popular since their publication in 1740: the irresistibly congenial tunes and engaging rhythms, the free-spirited fugues, endearing Largos and Adagios, and overall vivacious writing for all instruments elicits correspondingly high-spirited responses from anyone within earshot of these unrelentingly entertaining works.
The revival of the viola d'amore as an instrument distinct and separate from the viola is a well-established phenomenon, advanced by composers and performers alike at least since the 1920s. That doesn't mean, however, that there are a great many players of the viola d'amore around, nor are there nearly as many viola d'amores in existence to play, at least in a quantity relative to the number of violas that are out there.