Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


CD REVIEW

Some items
to consider


New App by the Gothenburg Symphony Orchestra for iOS and Android!

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

alternatively
CD: Crotchet


Domenico SCARLATTI (1685-1757)
Te Deum (1720s) [5.56]
Stabat Mater (1715-1719) [25.57]
Miserere [12.53]
Magnificat [13.19]
Laetatus sum (1729) [12.48]
Richard Butler (tenor); Nicholas Daly (treble); Timothy Mead (boy alto); Ashley Grote (organ); Daniel Hyde (organ); Joseph Crouch (cello); Choir of King’s College, Cambridge/Stephen Cleobury
rec. 8-11 July 2002, Chapel King’s College, Cambridge
EMI CLASSICS 2357352 [70.55]
Experience Classicsonline

You get the impression that Domenico Scarlatti remained under his father’s domination both musically and personally until the younger Scarlatti left for the Iberian peninsula. It was only after this move that Domenico’s music seems to have taken flight and developed real life of its own. In fact, Domenico had to resort to a court case in 1717 to prevent his father interfering in his personal affairs.
 
This disc is unusual in that it is a survey of Domenico Scarlatti’s choral music. Usually his works crop up on disc in tandem with those by other composers. The Stabat Mater is available in versions by such groups as The Sixteen and Concerto Italiano. But here King’s College Choir, under Stephen Cleobury give us three additional pieces to form an attractive programme.
 
The works range in time from his period in Rome (1715-1719) to his years in Portugal. The lovely Miserere survives in manuscript in the Vatican archives. It was almost certainly written for the choir of the Cappella Giulia of which Scarlatti was the musical director. Like the Allegri setting of the psalm, this work was probably written for the Tenebrae service at the Sistine chapel. Like all the settings of this text used by the Vatican for the Tenebrae service, Scarlatti’s piece interleaves polyphonic verses with plainchant. His setting is relatively simply but all the more moving for its simplicity. It is given a beautiful performance by the King’s forces.
 
The Magnificat similarly survives in Vatican manuscript and was probably written for Vatican forces; it is Scarlatti’s only surviving Magnificat. The work is in four parts and three movements.
 
The other work from his Roman period is the Stabat Mater, Scarlatti’s best known piece. A substantial ten-part setting in eleven movements, it mixes solo and choral movements. Scarlatti probably wrote it for the Cappella Giulia, at least it appears to be designed for a virtuoso group. Though he is relatively sparing in his use of full vocal forces, the choral sections include some highly vivid writing.
 
The Te Deum dates from the Scarlatti’s period of employment in Portugal during the 1720s. An eight-part work full of vigorous part-writing, it reflects the Portuguese court’s habit of marking the end of the year with a service of thanksgiving.
 
The final work is the psalm setting, Laetatus sum. This is notable because it was first heard at the wedding of Scarlatti’s pupil Infanta Maria Barbara to the heir to the Spanish throne. This marriage which resulted in Scarlatti moving to the Spanish Royal Court with his pupil.
 
King’s College Choir performs this music with their customary aplomb, and aided by the chapel acoustic give the music a lovely bloom. There are moments when the trebles sound a little taxed, but this is not surprising in music that was probably both unfamiliar and tricky. Similarly the solo treble voices can be a little varied, but none is less than creditable.
 
If you are mainly interested in the Stabat Mater then you might do well to investigate one of the CDs where the work is sung by a mixed voice choir. The particular delight of this disc is the way Cleobury has surrounded the better known work with a quartet of other attractive ones.
 
Stephen Cleobury and King’s College Choir give this music the attention it deserves and have produced a lively and attractive programme. Sometimes Scarlatti seems to be note-spinning in contemporary style, rather than developing music in his own distinctive style, but it is well put together nonetheless. Nothing on this disc has quite the attention-grabbing distinction of some of the keyboard sonatas, but it is still a programme worth investigating.
 
Robert Hugill
 

 


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools




Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.