Cappella Murensis & Les Cornets Noirs - Paradisi Gloria (Sacred Music by Emperor Leopold I) (2017) [Hi-Res]
Artist: Cappella Murensis, Les Cornets Noirs
Title: Paradisi Gloria (Sacred Music by Emperor Leopold I)
Year Of Release: 2017
Label: audite Musikproduktion
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 01:15:35
Total Size: 360 / 727 mb
WebSite: Album Preview
TracklistTitle: Paradisi Gloria (Sacred Music by Emperor Leopold I)
Year Of Release: 2017
Label: audite Musikproduktion
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 01:15:35
Total Size: 360 / 727 mb
WebSite: Album Preview
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01. Stabat Mater, W 47: Sonata
02. Stabat Mater, W 47: Stabat mater dolorosa
03. Stabat Mater, W 47: Quis not potest contristari
04. Stabat Mater, W 47: Pro peccati suae gentis
05. Stabat Mater, W 47: Tui nati vulnerati
06. Stabat Mater, W 47: Fac me vere tecum flere
07. Stabat Mater, W 47: Inflammatus et accensus
08. Stabat Mater, W 47: Fac me cruce custodiri
09. Stabat Mater, W 47: Quando corpus morietur
10. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Sonata
11. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Vertatur in luctum cythara nostra
12. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Lachrymantem et dolentem
13. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Acutissimi dolores
14. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Ritornello
15. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Afflicitissima tristatur
16. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Fontes lachrymarum
17. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Dicite, filiae Sion
18. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Fons signatus
19. Motetto de Septem Doloribus Beatae Mariae Virginis "Vertatur in luctum cythara nostra", W 40: Maerores igitur Mariae
20. Missa pro Defunctis, W 11: Sonata I
21. Missa pro Defunctis, W 11: Requiem aeternam I
22. Missa pro Defunctis, W 11: Te decet hymnus
23. Missa pro Defunctis, W 11: Requiem aeternam II
24. Missa pro Defunctis, W 11: Kyrie I
25. Missa pro Defunctis, W 11: Christe
26. Missa pro Defunctis, W 11: Kyrie II
27. Missa pro Defunctis, W 11: Sonata II
28. Missa pro Defunctis, W 11: Sanctus
29. Missa pro Defunctis, W 11: Pleni sunt caeli
30. Missa pro Defunctis, W 11: Hosanna I
31. Missa pro Defunctis, W 11: Benedictus
32. Missa pro Defunctis, W 11: Hosanna II
33. Missa pro Defunctis, W 11: Agnus Dei
34. Missa pro Defunctis, W 11: Sonata
35. Missa pro Defunctis, W 11: Lux aeterna
36. Missa pro Defunctis, W 11: Cum sanctis tuis I
37. Missa pro Defunctis, W 11: Requiem aeternam
38. Missa pro Defunctis, W 11: Cum sanctis tuis II
39. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Sonata I
40. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Lectio prima: Parce mihi, Domine
41. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Responsorium: Credo, credo
42. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Sonata II
43. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Lectio secunda: Taedet anima mea
44. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Responsorium: Qui Lazarum resuscitasti
45. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Sonata III
46. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Lectio tertia: Manus tuae, Domine
47. Tres Lectiones I. Nocturni pro Defunctis Piae Claudiae Felici lugens maestusque Leopoldus posuit et musicis legibus distinxit, W 33: Responsorium: Domine, quando veneris
A well-regarded composer in his own right, Leopold I transformed the Viennese court into a centre of European culture.
The beautiful settings he wrote for the burials of his first two wives, as well as his music for the Feast of the Seven Sorrows of the Blessed Virgin Mary, are testament to the Emperor’s musical talent.
Born in 1641 in Vienna as the second son of Emperor Ferdinand II, Leopold I was initially destined for a theological career and hence received a suitable education to this end. He was nominated as successor to his father, who had died the previous year, as Holy Roman Emperor in 1658 in Frankfurt only after the death of his elder brother, Ferdinand. He reigned until his death in 1705 as a controversial ruler, because he was indecisive and less interested in politics than in music, feast days, religion, and hunting. He inherited a gift for music from his father and was inculcated with the love of music by him; Ferdinand III had prepared the way as a poet of Italian texts and composer. Leopold devoted himself to music and to the musicians of his Hofkapelle (Court Chapel) with even greater commitment. As a child he was taught the harpsichord by the court organist Marcus Ebner and probably received lessons in composition from the Hofkapellmeister (Director of Music at the Court Chapel) Antonio Bertali.
Sixty-nine of Leopold I’s numerous autonomous compositions have survived. Most of them are smaller works of church music, but we know of at least an ordinary mass and a requiem, ten oratorios and sepolcri (oratorios before the Holy Sepulchre), an Italian opera and an act of a further one, two serenatas, two Spanish intermezzos and six theatre works in addition nevertheless. We also know of one further opera of his composing, but only one aria from it has survived.
Beyond this, though, the emperor contributed individual arias or scenes to most of the over 200 operas that were performed during his reign.
This CD gives an overview of the liturgical compositions that he penned. The idea that Leopold composed sad melodies particularly aptly, as a diplomat reported, is confirmed by the compositions recorded here, the texts of which all concern death – either that of Jesus Christ or the human one.
The beautiful settings he wrote for the burials of his first two wives, as well as his music for the Feast of the Seven Sorrows of the Blessed Virgin Mary, are testament to the Emperor’s musical talent.
Born in 1641 in Vienna as the second son of Emperor Ferdinand II, Leopold I was initially destined for a theological career and hence received a suitable education to this end. He was nominated as successor to his father, who had died the previous year, as Holy Roman Emperor in 1658 in Frankfurt only after the death of his elder brother, Ferdinand. He reigned until his death in 1705 as a controversial ruler, because he was indecisive and less interested in politics than in music, feast days, religion, and hunting. He inherited a gift for music from his father and was inculcated with the love of music by him; Ferdinand III had prepared the way as a poet of Italian texts and composer. Leopold devoted himself to music and to the musicians of his Hofkapelle (Court Chapel) with even greater commitment. As a child he was taught the harpsichord by the court organist Marcus Ebner and probably received lessons in composition from the Hofkapellmeister (Director of Music at the Court Chapel) Antonio Bertali.
Sixty-nine of Leopold I’s numerous autonomous compositions have survived. Most of them are smaller works of church music, but we know of at least an ordinary mass and a requiem, ten oratorios and sepolcri (oratorios before the Holy Sepulchre), an Italian opera and an act of a further one, two serenatas, two Spanish intermezzos and six theatre works in addition nevertheless. We also know of one further opera of his composing, but only one aria from it has survived.
Beyond this, though, the emperor contributed individual arias or scenes to most of the over 200 operas that were performed during his reign.
This CD gives an overview of the liturgical compositions that he penned. The idea that Leopold composed sad melodies particularly aptly, as a diplomat reported, is confirmed by the compositions recorded here, the texts of which all concern death – either that of Jesus Christ or the human one.
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