目录
| # | 曲目 | 时长 |
|---|---|---|
1 | Deficiat in dolore, LV 977：Deficiat in dolore, LV 977 | 00:03:45 |
| 2 | Al pie del duro sasso：Al pie del duro sasso | 00:04:42 |
| 3 | Lagrime di San Pietro：No. 1, Il magnanimo Pietro, LV 1005 | 00:02:38 |
| 4 | Lagrime di San Pietro：No. 2, Ma gli archi, che nel petto, LV 1006 | 00:03:01 |
| 5 | Le lagrime del peccatore：Vergine, se pietate | 00:03:21 |
| 6 | Le lagrime del peccatore：Le lagrime, i sospiri | 00:03:34 |
| 7 | Lagrime di San Pietro：No. 3, Tre volte haveva, LV 1007 | 00:02:29 |
| 8 | Lagrime di San Pietro：No. 4, Qual’a l’incontro, LV 1008 | 00:02:58 |
| 9 | Lagrime di San Pietro：No. 19, Queste opre, LV 1023 | 00:02:33 |
| 10 | Le lagrime del peccatore：La morte è morta | 00:03:58 |
| 11 | Le lagrime del peccatore：La vita è breve | 00:02:22 |
| 12 | Le lagrime del peccatore：Svegliati omai | 00:02:23 |
| 13 | Le lagrime del peccatore：Chiudi gli orrechi | 00:02:10 |
| 14 | Lagrime di San Pietro：No. 10, Como falda di neve, LV 1014 | 00:03:10 |
| 15 | Lagrime di San Pietro：No. 12, Quel volto, LV 1016 | 00:02:42 |
| 16 | Lagrime di San Pietro：No. 9, Chi ad una ad una, LV 1013 | 00:02:16 |
| 17 | Le lagrime del peccatore：L’anima mia, signore | 00:02:45 |
| 18 | Le lagrime del peccatore：Hore che’l ciel et la terra | 00:03:12 |
| 19 | Le lagrime del peccatore：La morte di colui | 00:03:01 |
| 20 | Le lagrime del peccatore：La croce già fù | 00:02:28 |
| 21 | Lagrime di San Pietro：No. 21, Vide homo, LV 1025 | 00:03:49 |
| 22 | O sacro santo legno：O sacro santo legno | 00:04:11 |
专辑简介
This recording, made at Noirlac Abbey in January 2025, is dedicated to Denis Raisin Dadre, who passed away suddenly on September 29 of the same year. With Doulce Mémoire, the ensemble he founded in 1989 and with which he brought Renaissance music to the world, Denis directed the production of this album from start to finish. In the booklet, he writes: \”The Lagrime di San Pietro and Lagrime del peccatore both deal with a subject rarely encountered in musical settings: Peter’s denial of Jesus. Furthermore, each is the swan song of its composer. Munich, 1594. In the last year of his life, Orlando di Lasso composed his masterpiece, the apogee of Renaissance counterpoint and musical eloquence. Ferrara, 1586. Lodovico Agostini published his final work, whose language sought above all to move and overwhelm the listener by using all the already baroque devices of chromaticism and dissonance.
