Music at the Salzburg Court 1587-1612 Vol 2
View record and artist detailsRecord and Artist Details
Composer or Director: Orazio (Tiberio) Vecchi, Johann Stadlmayr, Leone Leoni, Agostino Agazzari, Tiburtio Massaino (Massaini)
Label: Deutsche Harmonia Mundi
Magazine Review Date: 9/1991
Media Format: CD or Download
Media Runtime: 49
Mastering:
DDD
Catalogue Number: RD77157
Tracks:
| Composition | Artist Credit |
|---|---|
| Nigra sum |
Leone Leoni, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Leone Leoni, Composer Salzburg Bach Choir |
| Angelus Domini |
Leone Leoni, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Leone Leoni, Composer Salzburg Bach Choir |
| Vide Domine |
Leone Leoni, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Leone Leoni, Composer Salzburg Bach Choir |
| Pange lingua |
Orazio (Tiberio) Vecchi, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Orazio (Tiberio) Vecchi, Composer Salzburg Bach Choir |
| Salvete flores |
Orazio (Tiberio) Vecchi, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Orazio (Tiberio) Vecchi, Composer Salzburg Bach Choir |
| Super flumina Babylonis |
Agostino Agazzari, Composer
Agostino Agazzari, Composer Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Salzburg Bach Choir |
| Magnificat quarti toni a 8 |
Johann Stadlmayr, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Johann Stadlmayr, Composer Salzburg Bach Choir |
| Magnificat primi toni a 8 |
Johann Stadlmayr, Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Johann Stadlmayr, Composer Salzburg Bach Choir |
| Sicut cedrus In plateis |
Tiburtio Massaino (Massaini), Composer
Howard Arman, Conductor, Baritone Innsbruck Brass Ensemble Salzburg Bach Choir Tiburtio Massaino (Massaini), Composer |
Author: Iain Fenlon
The raison d'etre for this record is the evident interest taken in church music by Wolf Dietrich von Raitenau, Prince-Archbishop of Salzburg for some 25 years in the late sixteenth and early seven- teenth centuries. Under his guidance, sacred music at the local cathedral was not only reformed in accordance with the ideas evolved from the Council of Trent in the middle of the sixteenth century, but it was also placed on a more secure professional footing. Tiburtio Massaini and Johannes Stadlmayr were the two best known of the nine Kapellmeisters employed there during those 25 years; their music, together with that of other composers associated with Dietrich (in some cases the association amounts to no more than the dedication of a publication), make up the disc.
The rather didactic air about this sort of programme-planning matters little when what results is a sequence of first-class music, but it cannot be honestly said that this is what happens here. Leoni's Angelus Domini, a classic exercise in the Venetian manner, makes for a lively start, and the Salzburg Bach Choir respond well to the rhythmic verve of the repeated ''Alleluia'' refrains. But thereafter the selection is something of a mixed bag for all that Arman's musicians do their best to persuade us otherwise. The choir itself is too large for this repertory, and is also a little top-heavy, but even so there is generally a decent sense of choral ensemble, a nice attention to accentual detail and an effective use of dynamic contrast. Instrumentation has been thought about imaginatively, even too imaginatively in the curious case of the deployment of the double harp, and the wind playing is fine. It is just that their hearts don't always seem to be in it, and some of the drearier moments in these pieces emerge as pedestrian and dutiful rather than inspired.'
The rather didactic air about this sort of programme-planning matters little when what results is a sequence of first-class music, but it cannot be honestly said that this is what happens here. Leoni's Angelus Domini, a classic exercise in the Venetian manner, makes for a lively start, and the Salzburg Bach Choir respond well to the rhythmic verve of the repeated ''Alleluia'' refrains. But thereafter the selection is something of a mixed bag for all that Arman's musicians do their best to persuade us otherwise. The choir itself is too large for this repertory, and is also a little top-heavy, but even so there is generally a decent sense of choral ensemble, a nice attention to accentual detail and an effective use of dynamic contrast. Instrumentation has been thought about imaginatively, even too imaginatively in the curious case of the deployment of the double harp, and the wind playing is fine. It is just that their hearts don't always seem to be in it, and some of the drearier moments in these pieces emerge as pedestrian and dutiful rather than inspired.'
Music at the Salzburg Court 1587-1612 Vol 2
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