Hyperion Records | Scarlatti/Hasse: Salve Regina

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CDA66875
Archive Service Only

Recording details: February 1996
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: September 1996
Total duration: 76 minutes 17 seconds

'Congratulations to Hyperion on imaginative programming of repertoire, some not otherwise available on disc. Highly recommended ... for repeated enjoyable listening' (BBC Music Magazine)

'Una de las mejores elecciones de musica barroca que haya escuchado este año. Por supuesto que lo recomiendo vivamente' (CD Compact, Spain)

'The recording is exemplary. If you want an introduction to vocal writing in compact forms in early 18th-century Italy, this is ideal' (American Record Guide)

Scarlatti/Hasse: Salve Regina

The King's Consort, Robert King (conductor)

LISTEN TO ALL EXTRACTS

		Salve regina in A major Domenico Scarlatti (1685-1757)
1		Movement 1: Salve regina, mater misericordiae [2'14] James Bowman (countertenor)
2		Movement 2: Ad te clamamus exules, filii Hevae [4'22] James Bowman (countertenor)
3		Movement 3: Nobis post hoc exilium ostende [2'34] James Bowman (countertenor)
4		Movement 4: O clemens, o pia [3'51] James Bowman (countertenor)
		Su le sponde del Tebro Alessandro Scarlatti (1660-1725)
5		Movement 1: Sinfonia [1'39] Crispian Steele-Perkins (trumpet)
6		Movement 2. Recitativo: Su le sponde del Tebro [1'07] Deborah York (soprano)
7		Movement 3. Sinfonia – Aria: Contentatevi, o fidi pensieri [3'12] Deborah York (soprano), Crispian Steele-Perkins (trumpet)
8		Movement 4. Recitativo: Mesto, stanco, e spirante dal duol' che l'opprimea [0'47] Deborah York (soprano)
9		Movement 5. Largo: Infelici miei lumi [3'20] Deborah York (soprano)
10		Movement 6. Aria: Dite almeno, astri crudeli [2'44] Deborah York (soprano), Crispian Steele-Perkins (trumpet)
11		Movement 7. Recitativo: All' aura, al cielo, al venti [0'57] Deborah York (soprano)
12		Movement 8. Aria: Tralascia pur di piangere, povero afflitto cor [1'35] Deborah York (soprano), Crispian Steele-Perkins (trumpet)
		Salve regina Johann Adolf Hasse (1699-1783)
13		Movement 1: Salve regina, mater misericordiae [5'44] James Bowman (countertenor)
14		Movement 2: Ad te clamamus exules, filii Hevae [4'53] James Bowman (countertenor)
15		Movement 3: Eia ergo advocata nostra illos tuos [2'26] James Bowman (countertenor)
16		Movement 4: Et Iesum, benedictum fructum ventris tui [3'46] James Bowman (countertenor)
		Infirmata vulnerata Alessandro Scarlatti (1660-1725)
17		Movement 1. Aria: Infirmata vulnerata puro deficit amore [3'39] James Bowman (countertenor)
18		Movement 2. Recitativo: O care, o dulcis amor [0'34] James Bowman (countertenor)
19		Movement 3. Aria: Vulnera percute, transfige cor [3'18] James Bowman (countertenor)
20		Movement 4. Aria: Cur, quaeso, crudelis es factus [2'31] James Bowman (countertenor)
21		Movement 5. Recitativo: Vicisti, amor, et cor meum [0'29] James Bowman (countertenor)
22		Movement 6. Aria: Semper gratus desiderabilis [1'57] James Bowman (countertenor)
		O di Betlemme altera Alessandro Scarlatti (1660-1725)
23		Movement 1: Introduzione [1'56]
24		Movement 2. Recitativo: O di Betlemme altera povertà venturosa! [0'42] Deborah York (soprano)
25		Movement 3. Aria: Dal ben seno d'una stella [2'05] Deborah York (soprano)
26		Movement 4. Recitativo: Presa d'uomo la forma, alle gelide tempre [0'51] Deborah York (soprano)
27		Movement 5. Aria: L'autor d'ogni mio bene [4'00] Deborah York (soprano)
28		Movement 6. Recitativo: Fortunati pastori giacchè v'è dato in sorte [0'40] Deborah York (soprano)
29		Movement 7. Aria: Tocco la prima sorte a voi, pastori [8'24] Deborah York (soprano)

In the eighteenth century the cantata was considered to be the supreme challenge for a composer's artistry. Here are recorded three fine examples from the enormous corpus of such works by Alessandro Scarlatti, two for solo voice with continuo, and one which includes a particularly demanding part for obbligato trumpet, faultlessly played by Crispian Steele-Perkins. These cantatas are joined by settings of the Salve Regina by Domenico Scarlatti (Alessandro's sixth son) and Johann Adolf Hasse (a pupil). The work by Hasse is distinctly operatic with florid vocal and instrumental lines, and the younger Scarlatti similarly finds himself drawn away from religious deference to a more flamboyant style.