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Rossini - Petite Messe Solennelle | Tactus TC791803

Rossini - Petite Messe Solennelle

£13.60

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Label: Tactus

Cat No: TC791803

Barcode: 8007194103809

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 28th April 2008

Contents

Artists

Letizia Calandra Brumat (soprano)
Chiarastella Onorati (contralto)
Giuliano di Filippo (tenor)
Lorenzo Battagion (bass)
Michelangelo Carbonara (primo pianoforte)
Enrico Maria Polimanti (secondo pianoforte)
Alberto Pavoni (harmonium)
Coro da Camera Goffredo Petrassi

Conductor

Flavio Emilio Scogna

Works

Rossini, Gioachino

Petite Messe solennelle

Artists

Letizia Calandra Brumat (soprano)
Chiarastella Onorati (contralto)
Giuliano di Filippo (tenor)
Lorenzo Battagion (bass)
Michelangelo Carbonara (primo pianoforte)
Enrico Maria Polimanti (secondo pianoforte)
Alberto Pavoni (harmonium)
Coro da Camera Goffredo Petrassi

Conductor

Flavio Emilio Scogna

About

A performance of the Petite Messe Solennelle by Rossini with an ensemble suggested by the composer himself (in the version of 1863 and 1864 at the Pillet-Will Palace, without the Salutaris Hostia), is not merely a scholarly operation, though that in itself would be a worthy undertaking. For Rossini’s last masterpiece is best realized with the salon sound of chamber music - a sound all the more modern when tied to the timbre of the instruments and to the increased independence between compositional language and the size of the ensemble (a direction which would be further investigated in the twentieth century).

Certain structural characteristics of the Petite Messe Solennelle become more evident in a strictly chamber performance with 12 singers - 12 (between chorus and soloists), as Rossini imagined with ironic symbolism (the twelve apostles), perhaps tied to the instrumental trinity in which the Father is undoubtedly the premier piano and the Holy Ghost accompanied by the (humble but insinuating) sound of the harmonium.

The global architecture created from the individual parts is, in fact, a truly masterful aspect of the Petite Messe. Not only are the Kyrie and Agnus Dei constructed according to a single design (a solution favoured by the structure of the text); the Gloria and Credo are also founded on vast cyclical patterns (assisted by a theatrically episodic return to the first words of the text), though the former opportunely highlights the various solo numbers.

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