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Hyperion Records

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Augustus Bridge and the Church of Our Lady on the bank of the River Elbe, Dresden (detail) (1748) by Bernardo Bellotto (1722-1780)
AKG London
Track(s) taken from CDH55424
Recording details: March 2002
Air Studios, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: March 2003
Total duration: 3 minutes 40 seconds

'Constantly fascinating to listen to. Especially when performed as beautifully and with such evident care and affection as it is on Robert King’s new CD … Zelenka’s curious music could scarcely have better advocacy' (Gramophone)

'Performances are sensitive and stylish in ways that we have come to expect from this group' (BBC Music Magazine)

'Robert King and his period forces give performances it would be hard to beat' (The Daily Telegraph)

'Robert King with his King’s Consort and Choir directs performances both moving and exhilarating' (The Guardian)

'A really first-rate release' (International Record Review)

'The performance is outstanding, capturing the startlingly original nature of the piece with singing and playing of such vitality and commitment' (Fanfare, USA)

'This CD of Robert King's stands high on the list of the best recordings of Zelenka's sacred music … for the characteristically exceptionally committed and supremely well-executed performances' (Goldberg)

'Eloquently presented by King and his first-rate accomplices' (Music Week)

'All of the soloists deserve special mention for sensitive performances that are appropriately expressive and that add essential individual color … you must get to know this wonderful and very deserving composer' (ClassicsToday.com)

Regina caeli laetare, ZWV134
composer
before 1728
author of text
Antiphon to the Blessed Virgin Mary in Paschal Time

Introduction  EnglishFrançaisDeutsch
The Marian antiphon Regina caeli laetare in F major (Z134) was written before 1728. It is kept simple and was probably intended as a repertoire piece for Lady Day. However, there are no surviving references to actual performances. The composition is remarkable for its unusual scoring for three high voices: they mark out the cantus firmus plainchant over a walking instrumental bass line before, prompted by the harmonies of the upper strings and oboes, they join in close harmony. A triple-metre passage for voices and continuo provides a brief middle section, but swiftly the instruments return to the opening material for a final, joyful Alleluia.

from notes by Peter Wollny © 2003
English: Viola Scheffel

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