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  • 卡尔达拉: 悲伤弥撒／圣母悼歌
    CALDARA: Missa Dolorosa / Stabat Mater / Sinfonias in G and E minor
    专辑号：8.554715
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• • 卡尔达拉: 悲伤弥撒／圣母悼歌/CALDARA: Missa Dolorosa / Stabat Mater / Sinfonias in G and E minor
  • [ 介绍 ]
  • Antonio Caldara(c.1670-1736)Stabat Mater • MissaDolorosaIn May 1716 Antonio Caldara left Rome and his post as Maestro dicappella to the Prince Francesco Maria Ruspoli to become Vizekapellmeisterat the imperial court of Charles VI in Vienna. It was the climax of acareer that had seen Caldara move from his native Venice initially to theGonzaga court at Mantua and then on to Ruspoli’s palazzo in Rome.Caldara’s first appointment, as Maestro to Ferdinando Carlo, Dukeof Mantua, in the summer of 1699 had followed a decade of freelance activity asa composer and cellist - itself a period that emerged from his years oftraining, some, allegedly, with Giovanni Legrenzi. Unfortunately, hisemployment at Mantua was blighted by the wars of the Spanish Succession whichsaw the court more often absent than resident in its home state, and it endedunceremoniously during the Duke’s final exile in Venice in 1707.There followed an eventful eighteen months. Rome, Barcelona and Veniceall welcomed Caldara and his music before he took up his position with Ruspoliin mid-1709. This offered a secure haven, politically, financially andartistically; Caldara was absent only once. In 1711 a quest for an imperialappointment ended in disappointment in Vienna and he returned to his tolerantpatron midway through 1712. Paradoxically, four years later, correspondencesecured the long-sought position when the death of the Kapellmeister Marc’AntonioZiani in January 1715 brought a reshuffling of personnel at the Viennese court.Caldara honed his musical skills with each position. Opera and oratoriowere his main concerns in Venice, although his efforts in smaller forms gaverise to two sets of trio sonatas, published in 1693 (Op. 1) and 1699(Op. 3), and a volume of cantatas (Op. 2), also printed in 1699. Operasdominated Caldara’s Mantuan years, reflecting the pleasure­-loving Duke’s greatpassion. A few surviving pieces of church music in ceremonial vein hint atwidening horizons. Ruspoli’s demands, however, centred on, the conversazioniheld in his palace each Sunday morning throughout much of the year. Thesegatherings of the Roman literati and secular and clerical dignitaries showcasedthe talents of his musical ensemble and his maestro. The cantata was thefavoured medium and within seven years Caldara had produced some 200 works.Yet these experiences, individually or together, could scarcely haveprepared Caldara for Vienna. An array of instrumental and vocal resources,lavish and talented as befitted the pre-eminent musical establishment oflate-baroque Europe, awaited him, as did the challenge of an extremely onerousand complex annual round of duties.The court operated a remarkably full calendar and observed a strictprotocol. The liturgical seasons and feasts as well as the saints’ days werecommemorated with music befitting their status. There were lengthy andbrilliant Missae solemnes for the high feasts, more slender Missaemediocre for the lesser feast days and chaste da cappella settingsfor Advent and Lent. New music usually marked the secular Galatäge, thebirth - and namedays of members of the imperial house. An annual carnival operawas required; four new oratorios graced each Lenten season. Caldara’s recordtells its own story - 23 oratorios, 32 operas, numerous feste da camera andserenatas, more than 100 Masses, scores of psalms, antiphons and offertoriae,all written within twenty years.The compositions on this recording belong to the Viennese court’sobservance of Lent and Holy Week, although they do not all come from the sameyear. The oratorio Gioseffo che interpreta i sogni (‘Josephinterprets the Dreams’) was performed in the Hofkapelle in 1726; Sant’Elenaal Calvario (‘St Helen at Calvary’) in 1731. An opera or oratorio overture(Introduzione) might well be recycled as a stand alone ’Sinfonia’or ’Sonata’; modification of the original was another matter, however. Both our’Sinfonias’ have sprouted additions - and their authorship is in question. In Gioseffothe new Minuet conclusion avoids the original slow-tempo close which hadled into the first vocal number of the oratorio; the concluding slow-fast pairof movements attached to Sant’Elena converts the two-movement originalinto a balanced, and more practical, four-movement cycle.The Stabat Mater had its place as the Sequence at Compline on thefour Saturdays in Lent. On these occasions court protocol required extendedsettings of the medieval text - an opportunity Caldara appears to havewelcomed. Just under half of the twenty verses are set individually; verses 2-4are combined, as are verses 5-10 and 16-17, into larger units. In the resultingtwelve-movement structure the choral movements (I, IV, VI, VIII and XI/XII) actas pillars linked by arching episodes for the soloists. These episodes are gorgeouslycoloured whether by differing combinations of the voices, by variedaccompanying instruments or by diverse textures. The choral movements are moresevere. Instruments strictly double the vocal lines; textures, both homophonicand imitative, are suffused with chromaticisms; note especially the tormented Facme tecum (VI), arguably the emotional climax of the work. Only in theconcluding movement (XII) does Caldara allow himself space for contrapuntalwriting. The double fugue is really a coda - the confident rising figure at Paradisigloria quells the despairing morietur which closed the previousmovement; its technical mastery and great length is a vision of the safe andeverlasting haven of the soul.In 1727 Pope Benedict XIII instituted the feast of the Seven Sorrows ofthe Virgin Mary (Festum Septem Dolorum Beatae Mariae Virginis) tobe celebrated on the Friday between Passion Sunday and Palm Sunday. On 5thFebruary 1735 Caldara completed a Missa a 4 Voci concertata con V.V.[violini] adding ’Dolorosa’ alongside the title. To all intents this was aMass written especially for the new feast day, and with Easter falling late in1735 there was good time for the vocal and instrumental parts to be copied andrehearsals begun.This extended setting has all the hallmarks of Caldara’s late sty1e. Theconcluding fugues of the Gloria and Credo as well as the KyrieII (returning as the Dona nobis pacem) display his rich andseemingly effortless counterpoint. His expressive melodic style permeates thevocal writing and instrumental obbligatos in the duets (Christe eleison;Gloria: Domine Fili - note the solo bassoon - and Quoniam; and Benedictus)and the one solo movement (Gloria: ’Domine Deus’). His sense ofstructure, more obvious in ’the ritornello-based closed forms of the solo andduet numbers, is just as secure in those ongoing sections where phrase afterphrase of text is held together by recurrent motives in the accompaniment or bya moto perpetuo instrumental line (Credo: Et resurrexit). Fromthe opening Kyrie his intermingling of solo ensemble with chorus hasemotional impact. But most masterly of all, perhaps, are his inspired harmonictouches that illumine the Qui tollis (Gloria) and the Etincarnatus and ’Crucifixus’ (Credo).Brian W. PritchardAntonio Caldara(c.1670-1736)Stabat Mater • MissaDolorosa Stabat Mater [2] I Stabat mater dolorosa, Juxta crucem lacrimosa Dum pendebat Filius. At the cross her station keeping Stood the mournful mother weeping, Close to Jesus at the last. [3] II Cujus animam gementem, Constristatem et dolentem, Pertransivit gladius. O quam tristis et afflicta Fuit illa benedicta Mater unigeniti! Quae moerebat et dolebat, Pia mater, dum videbat Nati poenas inclyti. Through her heart, his sorrow sharing, All his bitter anguish bearing, Now at length the sword had passed. Oh, how sad and sore distressed Was that mother highly blessed Of the sole-begotten one! Christ above in torment hangs; She beneath beholds the pangs Of her dying glorious Son. [4] III Quis est homo, qui non fleret, Matrem Christi si videret In tanto supplicio Quis non posset contristari, Christi Matrem contemplari Dolentem cum Filio? Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum. Vidit suum dulcem Natum Moriendo desolatum, Dum emisit spiritum. Eiat Mater, fons amoris, Me sentire vim doloris, Fac, ut tecum lugeam. Fac, ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam. Is there one who would hot weep, Whelmed in miseries so deep Christ’s dear mother to behold? Can the human heart refrain From partaking in her pain, In that mother’s pain untold? Bruised, derided, cursed, defiled, She beheld her tender Child All with bloody scourges rent. For the sins of his own nation, Saw him hang in desolation, ’Til his spirit forth he sent. O thou mother! fount of love! Touch my spirit from above, Make my heart with thine accord. Make me feel as thou has felt; Make my soul to glow and melt With the love of Christ my Lord. [5] IV Sancta mater, istud agas, Crucifixi fige plagas Cordi meo valide. Holy mother! pierce me through: In my heart each wound renew Of my Saviour crucified. [6] V Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide. Let me share with thee his pain, Who for all my sins was slain, Who for me in torments died. [7] VI Fac me tecum pie flere, Crucifixo condolere. Donec ego vixero. Let me mingle tears with thee, Mourning him who mourned for me, All the days that I may live. [8] VII Juxta crucem tecum stare, Et me tibi sociare In planctu desidero. By the Cross with thee to stay; There with thee to weep and pray: Is all I ask of thee to give. [9] VIII Virgo virginum praeclara, Mihi jam non sis amara, Fac me tecum plangere. Virgin of all virgins best! Listen to my fond request: Let me share thy grief divine. [10] IX Fac, ut portem Christi mortem, Passionis fac consortem, Et plagas recolere. Fac me plagis vulnerari Fac me cruce inebriari Et cruore Filii. Let me, to my latest breath, In my body bear the death Of that dying Son of thine. Wounded with his every wound, Steep my soul ’til it hath swooned In his very blood away. [11] X Flammis ne urar succensus, Per te, Virgo, sim defensus, In die judicii. Be to me, O virgin, nigh, Lest in flames I burn and die, In his awful Judgement day. [12] XI Christe, cum sit hinc exire, Da per matrem me venire Ad palmam victoriae. Quando corpus morietur Christ, when thou shalt call me hence, Be thy mother my defence, Be thy Cross my victory. While my body here decays, [13] XII Fac ut animae donetur Paradisi gloria. Amen. May my soul thy goodness praise, Safe in Paradise with thee. Amen. Missa Dolorsa [15] Kyrie eleison. Christe eleison. Kyrie eleison. Lord have mercy. Christ have mercy. Lord have mercy. [16] Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te; gratias agimus tibi propter magnam gloriam tuam. Domine Deus, rex caelestis, Deus pater omnipotens, Domine fili unigenite, Jesu Christe; Domine Deus, agnus Dei, filius patris. Qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum sancto spiritu in gloria Dei patris. Amen. Glory to God in the highest, and on earth peace to those of goodwill We praise you; we bless you; we worship you; we glorify you; we give thanks to you for your great glory. Lord God, heavenly king, God the father almighty, O Lord the only son, Jesus Christ; O Lord God, lamb of God, son of the father, You take away the sins of the world, have mercy on us; you take away the sins of the world, receive our prayer; you sit at the right hand of the father, have mercy on us. For you alone are holy, you alone are the Lord, you alone are the highest, Jesus Christ, with the holy spirit in the glory of God the father. Amen. [17] Credo in unum Deum, patrem onmipotentem, factorem caeli et terrae, visibilium omnium et invisibilium; et in unum Dominum Jesum Chrisfum, filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, lumen de lumine, Deum verum de Deo vero; genitum non factum, consubstantialem patri, per quem omnia facta sunt; qui propter nos homines et propter nostram salutem descendit de coelis. Et incarnatus est de spiritu sancto ex Maria virgine, et homo factus est. Crucificus etiam pro nobis sub Pontio Pilato: passus et sepultus est. Et resurrexit tertia die secundum scripturas; et ascendit in caelum, sedet ad dexteram patris; et iterum venturus est cum gloria judicare vivos et mortuos, cuius regni non erit finis, et in spiritum sanctum, Dominum et vivificantem, qui ex patre filioque procedit; qui cum patre et filio somul adoratur et conglorifactur, qui locutus est per propheta. Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum et exspecto resurrectionem mortuorum et vitam venturi saeculi. Amen I believe in one God, the father almighty, maker of heaven and earth, in all things visible and invisible; and in one Lord Jesus Christ, only son of God, and born of the Father eternally. God of God, light of light, true God of true God; begotten not made, of one substance with the father, by whom all things were made; he who for mankind and for our salvation descended from heaven. And was incarnate by the holy spirit of the virgin Mary and was made man. He was crucified even for us under Pontius Pilate; he died and was buried. And he rose again on the third day according to the scriptures; and ascended into heaven, seated at the right hand of the father; and again he will come with glory to judge the living and the dead, whose kingdom will have no end. And I believe in the holy spirit, the Lord and giver of life, who proceeds from the father and the son: who with the father and the son is likewise worshipped and glorified, who has spoken through the prophets. And I believe in one holy catholic and apostolic church. I acknowledge one baptism for the remission of sins, and I look for the resurrection of the dead and the life of the world to come. Amen Sanctus, sanctus, sanctus Dominus Dells Saboath; pleni sunt caeli et terra gloria tua. Osanna in excelsis. Holy, holy, holy Lord God of Sabaoth; heaven and earth are full of your glory. Hosanna in the highest. Benedictus qui venit in nomine Domini. Osanna in excelsis. Blessed is he who comes in the name of the Lord. Hosanna in the highest Agnus Dei, qui tollis peccata mundi; miserere nobis. Agnus Dei, qui tollis peccata mundi; miserere nobis. Agnus Dei, qui tollis peccata mundi; dona no.bis pacem. Lamb of God, you take away the sins of the world; have mercy on us. Lamb of God, you take away the sins of the world; have mercy on us. Lamb of God, you take away the sills of the world; grant us peace.
  • • 专辑列表
    • Ｇ小调交响曲（选自１７３１年的清唱剧） Sant Elena al Calvario: Introduzione, Sinfonia No. 6 in G minor

      

      1: Ｇ小调交响曲（选自１７３１年的清唱剧） Sinfonia in G minor (from Oratorio Sant Elena al Calvario)

      04:49

      圣母悼歌 Stabat Mater

      

      2: 圣母悼歌 I. Stabat Mater dolorosa

      01:39

      3: Ｅ小调交响曲（选自１７２６年的清唱剧） II. Cujus animam gementem

      01:53

      4: 悲伤弥撒 III. Quis est home

      04:37

      5: IV. Sancta Mater

      01:03

      6: V. Tui nati vulnerati

      01:49

      7: VI. Fac me tecum

      01:02

      8: VII. Juxta crucem

      01:06

      9: VIII. Virgo virginum

      01:28

      10: IX. Fac, ut portem

      02:32

      11: X. Flammis ne urar succensus

      00:58

      12: XI. Christe, cum sit hinc exire

      01:36

      13: XII. Fac ut animae donatur

      02:12

      Ｅ小调交响曲（选自１７２６年的清唱剧） Gioseffo che interpreta i sogni: Introduzione, Sinfonia No. 10 in E minor

      

      14: Sinfonia in E minor (from Oratorio Gioseffo che interpreta i sogni)

      03:46

      悲伤弥撒 Missa Dolorosa

      

      15: I. Kyrie

      06:54

      16: II. Gloria

      12:51

      17: III. Credo

      06:08

      18: IV. Sanctus

      01:07

      19: V. Benedictus

      01:54

      20: VI. Agnus Dei

      03:42