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Hyperion Records

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Christ sinking under the weight of the cross by Paolo Caliari Veronese (1528-1588)
Lauros-Giraudon / Bridgeman Art Library, London
Track(s) taken from CDH55354
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: 13 minutes 1 seconds

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

'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)

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

Salve regina in A major
author of text
Antiphon to the Virgin Mary from Trinity until Advent

Introduction  EnglishFrançaisDeutsch
In his sacred music Domenico showed elements of the harmonic richness and melodic individuality which flood his later keyboard writing, but the main features of his settings of emotive sacred texts are tuneful melodies which mix religious deference with occasional elements of the opera. This readily approachable style is nonetheless underpinned by a sound compositional technique. The fine setting of the Salve regina begins with just such rich harmony and elegance of line, after which comes a dramatic section alternating trumpet-like calls (‘Ad te clamamus’) with more intense grave sections (‘exsules, filii Hevae’). The vocal line returns to more lyrical writing at ‘Eia ergo’, but the upper strings are more playful in their imitation of each other. ‘Nobis post hoc exsilium’ confidently starts with textbook imitation but the mood quietens at ‘ostende’. The most emotive (and individual) writing is reserved for ‘O clemens, o pia’, where Scarlatti’s characteristic use of dissonance and bitter-sweet melody gives rise to music of great beauty before the final ‘Amen’ returns, albeit restrained by its religious context, to a more operatic style.

from notes by Robert King © 1996

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