Rosenblum / Boston Modern Orchestra Project - Lament / Witches Sabbath - COMPACT DISCS [CD]

Cristóbal de Morales' fame and influence were enormous in his own time. More than 70 prints before 1600 included some of his compositions. The works of the musician from Seville were not merely an essential part of the repertoires of the most important churches and cathedrals of Spain and America until the end of the Modern Age, but they also enjoyed extraordinary prestige among theoreticians and historians. He only worked for short periods in posts in Spain and his name remains associated with the decade he spent at the papal chapel of Pope Paul III, from 1535 to 1545. In Rome he carried out his responsibilities as cantor alongside colleagues the likes of Costanzo Festa, Jacques Arcadelt and Juan Escribano. Morales was especially interested in texts for Lent, which include the celebration of Ash Wednesday and the Septuagesima, Sexagesima and Quinquagesima Sundays. La Grande Chapelle takes full advantage of the extensive number of these motets on liturgical texts for the Lenten season to pay homage to one of the great composers of all time.

Martin Klett has referred to his new project InchLamentoInch as both an Inchinsane project,Inch and a Inchmatter of the heart.Inch He writes InchInsanity and the heart fortunately go very well together. The project of doing Bach concertos with a chamber ensemble of solo strings had been going around in my head for almost a decade. And Bach, in a way, is the core of the programme on this album. His music often tends to be combined with other works with new music, or with Romantic music. Piazzolla's Four Seasons are often coupled with those of Vivaldi. Thus the idea of combining Baroque music with tango isn't new. But this specific repertoire is something quite different. Then we have my personal journey with tango my ensemble Cuarteto SolTango and my passion for dance. What grew out of all of this? a rather large-scale project with musicians from many different countries- and an intense week I will probably never forget.Inch

OSTINATI LAMENTI The lament is a literary genre that developed - with various names - in Roman languages in the Middle Ages, which typically involves a character complaining in the first person about unrequited love, loss or even their own death. It became very popular in Italy during the Renaissance, due predominantly to the expansion of the publishing industry and renewed interest in the Greek and Latin classics, for example the laments Ludovico Ariosto borrowed from Ovid, including the weeping Olympia. The economic crisis of the early seventeenth century and the remorseful climate of the Counter- Reformation inspired authors to write ever-greater numbers of sacred and secular laments, and these were increasingly frequently in verse form, designed to be set to music. On this recording, featuring Norwegian Baroque ensemble Oslo Circles and mezzo-soprano Marianne Beate Kielland, the listener will hear examples of the lament form by Italian composers such as Frescobaldi, Mealli, Merula, Uccellini, Kapsberger, Monteverdi and others.