Laudato si: In the Spirit of St. Francis of Assisi Andrey Nemzer

• 1 Stabat mater dolorosa (Arr. for Voice & Organ) 08:36
• 2 O quam tristis et afflicta (Arr. for Voice & Organ) 03:01
• 3 Quae moerebat et dolebat (Arr. for Voice & Organ) 03:45
• 4 Quis est homo qui non fleret (Arr. for Voice & Organ) 07:30
• 5 IX. Fac me vere tecum flere (Arr. for Voice & Organ) 06:21
• 6 Vidit suum dulcem natum (Arr. for Voice & Organ) 05:14
• 7 Inflammatus et accensus (Arr. for Voice & Organ) 05:49
• 8 Quando corpus morietur - Amen (Arr. for Voice & Organ) 05:04
• 9 Prière de Saint François d'Assise 07:18
• 10 Salutatio virtutum 12:03
• 11 Canticum fratris solis 18:36
• Total Runtime 01:23:17

Info for Laudato si: In the Spirit of St. Francis of Assisi

Navona records presents LAUDATO SI: IN THE SPIRIT OF ST. FRANCIS OF ASSISI, a tribute to the 13th century Italian friar and preacher. Beloved over the world for his charity, devotion to poverty, and delight in Creation, St. Francis portrays his love for the beautiful in his poetic writings. In this exquisitely crafted vocal-organ program soprano Charlene Canty, countertenor Andrey Nemzer, and organist Nicholas Will present a fresh musical take on the Franciscan poetic tradition with world premiere recordings of three contemporary settings of texts by (or attributed to) St. Francis written by the composer Eli Tamar. These works are complemented by a series of solos and duets from various settings of Stabat Mater from the Baroque period to the mid-twentieth century.

The celebrated Peace Prayer of St. Francis receives a surprising make-over by the Russian born Israeli-American composer. With his unusually unhurried pace, fluid lines and subtle harmonies Tamar unlocks the intimacy of the prayer for the listener, guiding him in a profound sense of humility to spiritual exaltation and bliss.

“I have always been fascinated by the raw human sentiment and drama brought to the genre of sacred music by such composers as Mozart and Verdi. Personally, I am drawn to texts that invite dramatic treatment,” says the composer. His Canticum Fratris Solis (Canticle of Brother Sun), with its universal message of kinship with nature and men, bears testimony to this approach. In this large scale composition Tamar weaves together elements of various styles: from Gregorian chant to medieval polyphonic textures, from Renaissance modal harmonies to impressionistic word painting and Italian verismo, all the while without resorting to stylization.

Soprano Charlene Canty and countertenor Andrey Nemzer belong to a rare breed of singers who can afford being unabashedly operatic in their approach to sacred music. Their full-bodied yet flexible voices soar and float in harmony in such contrasting pieces as Rossini’s “Quis est homo qui non fleret” and Pergolesi’s “Quando corpus morietur.” Mr. Nemzer delivers a stunning rendition of Dvorak’s dramatic “Inflammatus et accensus,” traditionally performed by female alto voice. Ms. Canty’s voice imparts a shimmering and mysterious aura to Poulenc’s dark “Vidit Suum.” Both singers exhibit perceptiveness, imagination and intelligence in their interpretation of Tamar’s demanding works that were written especially for them. Nicholas Will, their collaborator, showcases his virtuoso skills in Tamar’s “Salutatio Virtutum,” while his sensitive accompaniment and thoughtful organ orchestrations provide a breathing matrix for the singers.’

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