Esta grabación reúne una colección de obras vocales del siglo XVII de la música de los conventos italianos que adquiere otra dimensión gracias al hecho de que su función primaria era ayudar en la adoración. Dirigido por la liturgia, las piezas a menudo se basaban en oraciones de celebración o lamentación, ambas presentes en el montaña rusa emocional de la Semana Santa (la última semana de Cuaresma y la última semana antes de Pascua). Las obras de esta colección fueron escritas por una variedad de compositores, algunos dedicando sus composiciones a las monjas (por cierto, uno de los misterios más fascinantes que rodean el repertorio conventual es el hecho de que estas piezas a menudo contienen partes para voces de tenor y bajo, a las que las monjas recurrían a numerosas soluciones para suplir la falta de voces masculinas, como la transposición de voces más bajas o de piezas enteras o el uso de instrumentos) y numerosas piezas escritas por las propias monjas, como el afectuoso Silentio de Rosa Giacinta Badallas. Varias de las obras combinan voces con fuerzas instrumentales, como la viola da gamba, el lirone y la guitarra barroca. Todas ellas son interpretadas por el aclamado conjunto femenino Cappella Artimisia, fundado en 1991 y que ha recibido elogios tanto críticos como populares tanto por la rareza como por la originalidad de su repertorio.
https://dvdstorespain.es/es/musica/106320-weep-rejoice-music-for-holy-week-from-the-convents-of-17th-century-italy-cd-de-audio-cappella-artemisia-candace-smith-and-5028421946382.html106320WEEP & REJOICE: Music for Holy Week from the Convents of 17th Century Italy, [CD de audio] Cappella Artemisia, Candace Smith and<div id="productDescription" class="a-section a-spacing-small"> <!-- show up to 2 reviews by default --><br /><p> <span>This disc brings together a collection of vocal works from 17thcentury Italian convents music that is given another dimension thanks to the fact that its primary function was to aid worship. Led by the liturgy, the pieces were often based on prayers of celebration or lamentation, both of which feature prominently in the emotional rollercoaster that is Holy Week (the last week of Lent and the last week before Easter).<br /><br />The works in this collection were written by a variety of composers some dedicating their<br />compositions to the nuns (incidentally, one of the most fascinating mysteries surrounding convent repertoire is the fact that these pieces often contain parts for tenor and bass voices the nuns often resorted to numerous solutions to supplant the lack of male voices, including transposition of lower voices or entire pieces<br />or the use of instruments) and numerous pieces written by the nuns themselves such as Rosa Giacinta Badallas affecting Silentio.<br /><br />Several of the works combine voices with instrumental forces such as the viola da gamba, lirone, and baroque guitar. They are all performed by the acclaimed allfemale ensemble Cappella Artimisia, founded in 1991 and which has received critical and popular praise both for the rarity and originality of its repertoire.<br /></span> </p> </div><div id="lista_canciones"> <h4>Lista de temas</h4><div id="music-tracks" class="a-section a-spacing-small"> <div class="a-row"> <div class="a-column a-span3"> <table class="a-bordered a-spacing-none"><tr><td>1</td> <td>O Vos Omnes</td> </tr><tr><td>2</td> <td>Adoramus Te, Christe</td> </tr><tr><td>3</td> <td>Qui Pependit in Cruce</td> </tr><tr><td>4</td> <td>O Magnum Mysterium</td> </tr><tr><td>5</td> <td>Lamentatione Di Geremia</td> </tr><tr><td>6</td> <td>Feria Quinta - Lamentatione Seconda</td> </tr><tr><td>7</td> <td>Dialogo Delle Due MariÃ|</td> </tr><tr><td>8</td> <td>Madrigale Al Crocifisso</td> </tr><tr><td>9</td> <td>O Vos Omnes</td> </tr><tr><td>10</td> <td>Adoramus Te, Christe</td> </tr><tr><td>11</td> <td>Dic Nobis, Maria</td> </tr><tr><td>12</td> <td>Congratulamini Mihi Omnes</td> </tr><tr><td>13</td> <td>Silentio</td> </tr><tr><td>14</td> <td>Alleluia, Haec Dies Quam Fecit Dominus</td> </tr><tr><td>15</td> <td>Quid Mihi Est in Caelo</td> </tr><tr><td>16</td> <td>Ave Mater Dilectissima (Dialogo)</td> </tr><tr><td>17</td> <td>Canzone Francese Seconda</td> </tr><tr><td>18</td> <td>Risorto Hoggi Ã'il Signore</td> </tr><tr><td>19</td> <td>Alleluia - Surrexit Pastor</td> </tr><tr><td>20</td> <td>Cessate Tympana</td> </tr></table></div> </div> </div></div>https://dvdstorespain.es/611568-home_default/weep-rejoice-music-for-holy-week-from-the-convents-of-17th-century-italy-cd-de-audio-cappella-artemisia-candace-smith-and.jpg5.2066instockBrilliant Classics5.20665.2066002023-03-30T01:59:52+0200/Inicio/Inicio/Música/Inicio/Nuevos
This disc brings together a collection of vocal works from 17thcentury Italian convents music that is given another dimension thanks to the fact that its primary function was to aid worship. Led by the liturgy, the pieces were often based on prayers of celebration or lamentation, both of which feature prominently in the emotional rollercoaster that is Holy Week (the last week of Lent and the last week before Easter).
The works in this collection were written by a variety of composers some dedicating their compositions to the nuns (incidentally, one of the most fascinating mysteries surrounding convent repertoire is the fact that these pieces often contain parts for tenor and bass voices the nuns often resorted to numerous solutions to supplant the lack of male voices, including transposition of lower voices or entire pieces or the use of instruments) and numerous pieces written by the nuns themselves such as Rosa Giacinta Badallas affecting Silentio.
Several of the works combine voices with instrumental forces such as the viola da gamba, lirone, and baroque guitar. They are all performed by the acclaimed allfemale ensemble Cappella Artimisia, founded in 1991 and which has received critical and popular praise both for the rarity and originality of its repertoire.