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Track(s) taken from CDA67225

Salve regina

composer
1647; Motetti concertanti, Op 10
author of text
Antiphon to the Virgin Mary from Trinity until Advent

Robin Blaze (countertenor), The Parley of Instruments, Peter Holman (conductor)
Recording details: June 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: March 2001
Total duration: 6 minutes 8 seconds
 
1
Salve regina  [6'08]

Reviews

'An excellent release … Robin Blaze’s clear, pure countertenor is the ideal voice for these pieces, and he sings them with impressive authority. Pick of the month' (BBC Music Magazine)

'The intrinsic qualities of this little-explored repertoire and Blaze’s musicianship mark this as an important release' (American Record Guide)

'Blaze is at his most impassioned and convincing … this disc will add to our understanding and love of this treasure house' (International Record Review)

'It is a rare thing to reach the end of a long program like this wanting more, yet that’s exactly what happened to me in this instance. All readers are urged to investigate a remarkable disc that is assured of being an exceptionally strong contender for the Want List' (Fanfare, USA)

'Robin Blaze has justifiably moved quickly into the elite of counter-tenors. Not only is he convincing vocally but his interpretative instincts are sound' (Cathedral Music)

'I would recommend this disc to anyone with a love for baroque vocal music' (MusicWeb International)

'An appealing concert of Venetian sacred music … as always with Hyperion, gorgeous sound' (Early Music)
In Rovetta’s setting of the Salve Regina the instruments have a modern role, accompanying the voice as well as alternating with it, creating rich and sensuous textures. Not surprisingly, this fine piece found its way to northern Europe: a version of it wrongly ascribed to Franz Tunder was copied for the Swedish court as ‘Salve mi Jesu, pater misericordiae’ – a text suitably purged of Marian sentiments for Protestant sensibilities. Rovetta was a Venetian, and spent his entire career at St Mark’s, succeeding Monteverdi as maestro di capella in 1644.

from notes by Peter Holman © 2001

Dans la musique que Rovetta écrivit pour le Salve Regina, les instruments s’illustrent par une fonction moderne en accompagnant la voix tout en alternant avec elle, créant des textures riches et sensuelles. Il n’est guère surprenant que cette superbe page ait trouvé le chemin de l’Europe du Nord. Une version attribuée à tort à Franz Tunder a été copiée pour la cour suédoise sous le titre de « Salve mi Jesu, pater misericordiae » – un texte pertinemment expurgé de tout sentiment marial, en accord avec les susceptibilités protestantes. Rovetta était vénitien et passa toute sa carrière à Saint-Marc, prenant la succession de Monteverdi comme maestro di capella en 1644.

extrait des notes rédigées par Peter Holman © 2001
Français: Isabelle Battioni

In Rovettas Vertonung des Salve Regina haben die Instrumente eine moderne Funktion, da sie die Gesangsstimme sowohl begleiten als auch mit ihr abwechseln und üppig sinnliche Strukturen schaffen. Es überrascht nicht, daß dieses reizvolle Stück den Weg nach Nordeuropa gefunden hat: Eine fälschlich Franz Tunder zugeschriebene Version wurde für den schwedischen Hof als ‘Salve mi Jesu, pater misericordiae’ kopiert – auf einen Text, der mit Rücksicht auf entsprechende protestantische Sensibilität von Äußerungen der Marienverehrung befreit wurde. Auch Rovetta war Venezianer, verbrachte sein ganzes Berufsleben an San Marco und trat 1644 die Nachfolge Monteverdis als Maestro di cappella an.

aus dem Begleittext von Peter Holman © 2001
Deutsch: Anne Steeb/Bernd Müller

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