Concerto Soave - Venite, exultemus: Campra & Bernier (2025) [Hi-Res]

Tracklist

01. Venite, exultemus: I. Venite, exultemus Domino
02. Venite, exultemus: II. Quoniam Deus magnus Domino
03. Venite, exultemus: III. Venite, adoremus
04. Venite, exultemus: IV. Hodie si vocem ejus audieritis
05. Venite, exultemus: V. Quadraginta annis offensus fui generationi ill
06. Plein jeu
07. Laudate Dominum: I. Laudate Dominum in excelsis
08. Laudate Dominum: II. Quia ipse dixit & facta sunt
09. Laudate Dominum: III. Laudate Dominum de terra
10. Laudate Dominum: IV. Montes & omnes colles
11. Laudate Dominum: V. Confessio ejus super caelum & terram
12. Fond d'orgue
13. Judica me Deus: I. Judica me Deus
14. Judica me Deus: II. Emitte lucem tuam
15. Judica me Deus: III. Confitebor tibi in cythara
16. Judica me Deus: IV. Quare tristis es anima mea
17. Judica me Deus: V. Spera in Deo
18. Prélude du 5e ton
19. Alma redemptoris Mater
20. Prélude du 6e ton
21. Motets à une, deux et trois voix, Op. 1: No. 15, Venite, exultemus: I. exultemus Domino
22. Motets à une, deux et trois voix, Op. 1: No. 15, Venite, exultemus: II. Quoniam Deus magnus
23. Motets à une, deux et trois voix, Op. 1: No. 15, Venite, exultemus: III. Quoniam ipsius est mare
24. Motets à une, deux et trois voix, Op. 1: No. 15, Venite, exultemus: IV. adoremus
25. Motets à une, deux et trois voix, Op. 1: No. 15, Venite, exultemus: V. si vocem ejus audieritis
26. Motets à une, deux et trois voix, Op. 1: No. 15, Venite, exultemus: VI. Quadraginta annis offensus fui generationi huic



The motet for solo voice and two dessus, usually two violins, and the cantata with instrumental accompaniment originated in Italy at the dawn of the 17th century. The genre was introduced to France by Marc-Antoine Charpentier and by travelling Italian musicians and rapidly became one of the key showpieces of Italian taste and style. The genre was deployed superbly in the early 18th century by two magnificent composers who were practically contemporaries: André Campra and Nicolas Bernier. Campra's natural attraction to Italian music is easily explained, as he was the son of an Italian doctor living in Aix-en-Provence and was also a pupil of the great Poitevin in the same city. Bernier, if we are to believe certain sources, was a pupil in Rome of the Venetian Antonio Caldara, one of the most important composers of his time.

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