• CHR77457 Katalognummer
  • 4010072774576 EAN
  • 1CD Format
  • 2020 Utgivelsesår

Ecco la Musica

Hümmer, Heike | Sprinz, Matthias

Sämann, Gerlinde (cantus) | Pilger, Andreas (violino & viola da braccio) | Schall, Anna (cornetto) | Sprinz, Matthias (trombone) | Hümmer, Heike (viola da gamba & lira da gamba) | Baur, Andrea (chitarrone) | Lehmann, Christoph (organo)

Various composers

Ecco la Musica




Venezia 1631
La Festa della Salute
for Deliverance from the Plague:

Cima, Giovanni Paolo: Sonata a 4 - 4:26
Grandi, Alessandro: Salve Regina - 4:11
Rovetta, Giovani: Canzon seconda a 3 - 5:01
Cavalli, Francesco: Cantate Domino - 3:53
Bertali, Antonio: Sonata a 2 - 7:56
Selma y Salaverde, Bartolomeo de: Canzon 22 - 4:35
Castello, Dario: Sonata Decima quarta a 4 - 6:07
Monteverdi, Claudio: Confitebor tibi, Domine - 8:23
Riccio, Giovanni Battista: Sonata a 4 - 4:03
Fontana, Giovanni Battista: Sonata Seconda - 6:33
Castello, Dario: Sesta Sonata a due - 5:39
Merula, Tarquinio: Favus distillans a 4 - 3:59
Scarani, Giuseppe: Sonata XVIII sopra "La Novella" - 5:41
Barbarino, Bartolomeo: Ave dulcissima Maria - 3:54

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In the early summer of 1630, Venice was struck by the plague for the last time and in a devastating way. The plague raged for 18 months and killed almost 50,000 people, more than a third of the population at the time! Doge Nicolò Cantarini vowed to build a large church for the deliverance from the plague, and even though he was unable to experience it himself, this vow was carried out. With the Santa Maria della Salute, one of the most magnificent churches in the city was built. Since the year of liberation in 1631, the festival in honour of 'Saint Mary of Health' has been celebrated every year in November. The ensemble ecco la musica has set out to find out what the music of the first Festa della Salute in 1631 might have sounded like, combining what already existed with what was new at the time and commemorating the composers who died. With the end of the epidemic, there was also a musical change, from the wind-dominated polychoral music of Gabrieli, which had attracted all the important musicians to the Serenissima, to the style of the seconda prattica of Monteverdi and his successors with solo singers and virtuoso string accompaniment. These young modern composers now aspired from the city to the European courts, where they were welcomed with open arms.


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