01 – Jam sole clarior_ I. Jam sole clarior
02 – Jam sole clarior_ II. Hic magnus ille Nicolaus
03 – Jam sole clarior_ III. Inter undas fluctuantes
04 – Jam sole clarior_ IV. Novus iste defensor veritatis
05 – Jam sole clarior_ V. Et forti animo
06 – Infirmata, vulnerata_ I. Infirmata, vulnerata
07 – Infirmata, vulnerata_ II. O care, O dulcis amor!
08 – Infirmata, vulnerata_ III. Vulnera, percute
09 – Infirmata, vulnerata_ IV. Cur, quaeso, crudelis
10 – Infirmata, vulnerata_ V. Vicisti amor, et cor meum cessit amor!
11 – Infirmata, vulnerata_ VI. Semper gratus
12 – Sonata a quattro No. 1 in F Minor
13 – Stabat mater_ I. Stabat mater dolorosa
14 – Stabat mater_ II. Cujus animam gementem
15 – Stabat mater_ III. O Quam tristis et afflicta
16 – Stabat mater_ IV. Quae moerebat et dolebat
17 – Stabat mater_ V. Qui est homo qui non fleret
18 – Stabat mater_ VI. Quis non posset contristari
19 – Stabat mater_ VII. Pro peccatis suae gentis
20 – Stabat mater_ VIII. Vidit suum dulcem natum
21 – Stabat mater_ IX. Pia mater, fons amoris
22 – Stabat mater_ X. Sancta mater, istud agas
23 – Stabat mater_ XI. Fac ut ardeat cor meum
24 – Stabat mater_ XII. Tui nati vulnerati
25 – Stabat mater_ XIII. Fac me vere tecum flere
26 – Stabat mater_ XIV. Virgo virginum praeclara
27 – Stabat mater_ XV. Fac ut portem Christi mortem
28 – Stabat mater_ XVI. Inflammatus et accensus
29 – Stabat mater_ XVII. Fac me cruce custodiri
30 – Stabat mater_ XVIII. Quando corpus ùorietur

Thibault Noally and his ensemble here reaffirm their love for and expertise in Alessandro Scarlatti’s music as they celebrate his anniversary year with his famous and yet mysterious Stabat mater, a work that displays Scarlatti’s more intimate side.In Noally’s own words, “this is an extreme example of his stylistic eclecticism. The piece juxtaposes duets in passionate counterpoint with arias in the Neapolitan style, echoes of what he heard around him, as if they formed part of a mosaic. There is no synthesis between the different musical languages; what is most mysterious is that the motets are the musical illustration of a text or an emotion, whilst the Stabat mater requires a completely different approach. The music is no longer directly related to the text. It’s as if it had become a world in itself.”Noally also presents two Mottetti sacri and a Sonata a quattro, all in the da chiesa style. His collaborators here are soprano Emmanuelle de Negri, a long-time colleague, and Paul Figuier, a highly promising countertenor.
声明：本站所有hires无损音乐均转载于互联网，并不代表本站立场！如若本站内容侵犯了原著者的合法权益，可联系我们进行处理！ 拒绝任何人以任何形式在本站发表与中华人民共和国法律相抵触的言论！