Vivaldi - Stabat Mater (Scholl,Banchini) [1996]

1. Concerto Ripieno In C Major (RV 114): Allegro
2. Concerto Ripieno In C Major (RV 114): Adagio
3. Concerto Ripieno In C Major (RV 114): Ciaccona
4. Cantata 'Cessate, omai cessate' (RV 684): Largo e sciolto. Cessate, omai cessate
5. Cantata 'Cessate, omai cessate' (RV 684): Larghetto & Andante molto Ah ch'infelische sempre
6. Cantata 'Cessate, omai cessate' (RV 684): Andante. A voi dunque ricorro orridi specchi
7. Cantata 'Cessate, omai cessate' (RV 684): Allegro. Nell'orrido albergo ricetto di pene
8. Sonata 'Al Santo Sepolcro' (RV 130) -In E Flat: Largo molto
9. Sonata 'Al Santo Sepolcro' (RV 130) -In E Flat: Allegro ma poco andante
10. Introduzione al miserere 'Filiae maestrae Jerusalem' (RV 638): Recitativo. Adagio. Filiae maestrae Jerusalem
11. Introduzione al miserere 'Filiae maestrae Jerusalem' (RV 638): Largo. Sileant zephyri
12. Introduzione al miserere 'Filiae maestrae Jerusalem' (RV 638): Recitativo. Sed tenebris diffusis
13. Stabat Mater (RV 621): Stabat mater dolorosa. Largo
14. Stabat Mater (RV 621): Cujus animam gementem. Adagio
15. Stabat Mater (RV 621): O quam tristis. Andante
16. Stabat Mater (RV 621): Quis est homo. Largo
17. Stabat Mater (RV 621): Quis non posset. Adagio
18. Stabat Mater (RV 621): Pro peccatis suae gentis. Andante
19. Stabat Mater (RV 621): Eja mater, fons amoris. Largo
20. Stabat Mater (RV 621): Fac ut ardeat. Lento
21. Stabat Mater (RV 621): Amen. Allegro

Andreas Scholl – countertenor
Ensemble 415
Chiara Banchini – conductor

Vivaldi's early career as a composer was devoted mostly to instrumental works. Then, in 1712, when Vivaldi was in his mid-30s, he was commissioned to write the Stabat Mater included here for the church of Santa María della Pace in Brescia. Current scholarship indicates that it was his first sacred work. Then as now, the singer was a male, although we don't know whether he was a castrato or a countertenor. Perhaps unsurprisingly, this Stabat Mater doesn't feature the soloist at the expense of the instrumentalists, whose music is nevertheless kept to a modest scale. Modesty also figures in the work's thematic content, as the music of the first three sections is recycled in the second three. Virtuoso display and extreme emotion are absent in this work, which is attractive, balanced, and above all, devout. ---Ray Tuttle, classical.net

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