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La Tempête, Simon-Pierre Bestion: Scarlatti, Dvořák – Stabat Mater (24/96 FLAC)

La Tempête, Simon-Pierre Bestion: Scarlatti, Dvořák - Stabat Mater (24/96 FLAC)
La Tempête, Simon-Pierre Bestion: Scarlatti, Dvořák – Stabat Mater (24/96 FLAC)

HiRes FLAC

Composer: Domenico Scarlatti, Antonín Dvořák
Performer: La Tempête
Conductor: Simon-Pierre Bestion
Number of Discs: 2
Format: FLAC (tracks)
Label: Alpha
Catalogue: ALPHA1054
Release: 2024
Size: 1.64 GB
Recovery: +3%
Scan: yes

CD 01
Scarlatti: Stabat Mater a 10 voci
01. Prologue
02. Stabat Mater dolorosa

Dvořák: Stabat Mater, Op. 58
03. Stabat Mater dolorosa

Scarlatti: Stabat Mater a 10 voci
04. Cujus animam gementem
05. Quis non posset
06. Eja mater, fons amoris

Dvořák: Stabat Mater, Op. 58
07. Quis est homo, qui non fleret
08. Eja mater, fons amoris
09. Fac, ut ardeat cor meum

CD 02
Scarlatti: Stabat Mater
01. Sancta mater, istud agas

Dvořák: Stabat Mater, Op. 58
02. Tui nati vulnerati

Scarlatti: Stabat Mater
03. Fac me vere tecum flere

anon.: Stabat Mater
04. Sabat Mater dolorosa

Dvořák: Stabat Mater, Op. 58
05. Fac, ut portem Christi mortem
06. Inflammatus et accensus

Scarlatti: Stabat Mater a 10 voci
07. Juxta crucem
08. Inflammatus
09. Fac ut animae
10. Amen

Dvořák: Stabat Mater, Op. 58
11. Finale: Quando corpus morietur

Simon-Pierre Bestion has chosen to mirror two Stabat Mater that are more than 150 years apart: “in these two works I can feel the same tonal language, the same expression of sorrow” says the founder of La Tempête… “I have decided to ‘augment’ Scarlatti’s orchestration and ‘diminish’ Dvořák’s, so they can meet on even ground. To the Scarlatti I have added string parts sometimes doubling the vocal lines, colla parte , as was often done at the period: this not only allows the sound to be amplified, but adds an extra timbre to the voice. For the Dvořák, I have transcribed the original piano part into its minimum orchestral dimension, that is, for strings. This creates a common sound world between the two works – I would even say they have the same kind of lyricism in common, with just the timbres of the piano, organ and theorbo standing out.”

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