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Hyperion Records

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Track(s) taken from CDA67225
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: 5 minutes 28 seconds

'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)

Nunc dimittis
1646; Salmi diversi di compieta, Venice
author of text
Luke 2: 29-32

Introduction  EnglishFrançaisDeutsch
Giovanni Antonio Rigatti and Giovanni Rovetta were the most important composers at St Mark’s in the period immediately after Monteverdi’s death in 1643. Rigatti was a Venetian, and served at St Mark’s for his entire career apart from a short time at Udine in the 1630s; he died in 1649 while still in his early thirties. His settings of Psalm 4, Cum invocarem, and the Nunc dimittis come from a collection of music for Compline, published in 1646. As these pieces show, Rigatti was a master of the Monteverdi style, and, like Monteverdi, used instrumental ritornelli in a creative way to articulate and give shape to often disparate and diffuse vocal sections.

from notes by Peter Holman © 2001

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