Motets Napolitains Anthea Pichanick, Les Accents, Thibault Noally

• Leonardo Leo (1694 - 1744): Turbido cælo mare furentes:
• 1 Turbido cælo mare furentes: "Turbido cælo mare furentes" (Allegro) 06:15
• 2 Turbido cælo mare furentes: Recitativo "Accense ire cælestes" 00:56
• 3 Turbido cælo mare furentes: Responde "afflicte voci" (Larghetto) 11:45
• 4 Turbido cælo mare furentes: "Alleluia" (Allegretto) 02:18
• Alessandro Scarlatti (1660 - 1725): Totus amore languens:
• 5 Totus amore languens: "Totus amore languens" (Largo) 01:53
• 6 Totus amore languens: "Epulare, delectare" (Allegro) 02:01
• 7 Totus amore languens: Recitativo "Quid hoc cœlesti ardore" 00:31
• 8 Totus amore languens: Non mannæ dulcedo 02:39
• 9 Totus amore languens: "Ite procul o dapes mundanæ" (Allegro) 02:01
• 10 Totus amore languens: "Eia ergo" (Allegro) 01:42
• Nicola Porpora (1686 - 1768): Regina Cæli:
• 11 Regina Cæli: "Regina Cæli" (Allegretto) 02:48
• 12 Regina Cæli: "Resurrexit sicut dixit" (Allegro) 01:59
• 13 Regina Cæli: "Ora pro nobis Deum" (Adagio) 03:27
• 14 Regina Cæli: "Alleluia" (Allegro) 01:08
• Alessandro Scarlatti: De tenebroso lacu:
• 15 De tenebroso lacu: "De tenebroso lacu" (Largo è staccato, Allegro, Adagio) 06:02
• 16 De tenebroso lacu: "Derelecti nos exorant" (Moderato) 05:14
• 17 De tenebroso lacu: Recitativo "Sele emosinas" 00:45
• 18 De tenebroso lacu: "Si Fenices"[Without tempo indication] 04:28
• 19 De tenebroso lacu: Recitativo "Ergo in tam" 00:57
• 20 De tenebroso lacu: "De profundis" (Lento) 07:03
• Total Runtime 01:05:52

Info for Motets Napolitains

The decision to record my first solo recital with Les Accents was an easy one to take, given the ties that bind us and the resulting depth of our mutual musical understanding. We could have chosen better-known works for alto, like Vivaldi’s cantatas, but preferred to focus on the Italian motet from the second half of the 17th century, in all its facets (with a slight emphasis on Alessandro Scarlatti), while seeking to offer plenty of variety.

Thibault Noally places great trust in his singers, which enables us to move forward together in the music. The fact that I used to play the violin certainly plays a part in our rapport: sometimes without even being aware of it, we give preference to works which, while very vocal, are also highly instrumental. Porpora’s Regina Coeli, one of the two previously unrecorded works on this album, is a good example, since the voice often seems to be treated as a fifth stringed instrument, whether in its vocal figures or general tessitura. Leonardo Leo’s motet Turbido coelo is no less demanding, requiring the same virtuosity but also a theatricality that points towards opera – though as it is still church music, it is important not to go over the top!

Anthea Pichanick, contralto
Les Accents
Thibault Noally, violin, direction

No biography found.

Booklet for Motets Napolitains