目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Panis angelicus (Toccata e mottetto) | 00:05:01 |
| 2 | Sicut sponsus matris | 00:03:45 |
| 3 | Mater Jerusalem | 00:03:01 |
| 4 | Angelus Domini (Instrumental Version – Diminutions by Bruce Dickey) | 00:06:26 |
| 5 | Videte miraculum – Mottetto concertato a 3 (from “Novi concentus ecclesiastici e Liber secundus sacrorum concentuum”, 1610) | 00:03:28 |
| 6 | Sonata a 3 (from “Vespro della beata Vergine”, 1656) | 00:06:05 |
| 7 | O quam suavis (from “Motetti a voce sola de diuersi eccelentissimi autori nouamente stampati, Libro 1”, Venezia 1645) | 00:03:53 |
| 8 | The Vision of the Archangels | 00:06:54 |
| 9 | Il trionfo di Camilla: Sinfonia (Grave – Presto) | 00:05:18 |
| 10 | Il trionfo di Camilla, Act I Scene 2: “Se Ninfa o Dea tu sei” (Prenesto) [Version with Cornetto] | 00:01:54 |
| 11 | Il trionfo di Camilla, Act III Scene 5: “È pur ver ch’a soffrir” (Camilla) [Version with Cornetto] | 00:02:16 |
| 12 | Il trionfo di Camilla, Act III Scene 13: “Tutte armate” (Prenesto) | 00:02:38 |
| 13 | 3 Mélodies, IES 33: I. Les anges, “Vêtus de blancs, dans l’azur clair” (Lent) [Version with Theorbo] | 00:02:32 |
| 14 | O Archangels and Angels | 00:05:20 |
| 15 | Sonata da chiesa in A Major, Op. 6 No. 5: Largo e affetuoso – Adagio – Allegro (from “Sonate da chiesa a due violini Opera Sesta”, Venezia 1672) | 00:05:37 |
| 16 | Comodo Antonino: “Coronato di lauri” (Antonino) | 00:02:12 |
| 17 | Comodo Antonino: “Cara e dolce rimembranza” (Antonino) | 00:03:13 |
| 18 | Comodo Antonino: “Il desio di vendicarmi” (Pompeiano) [Version with Cornetto and Violin] | 00:02:51 |
专辑简介
During the height of its popularity, from the mid-16th century into the 18th, the cornetto was frequently depicted in art as an instrument of angels. Paintings, sculptures, and engravings abound in which the cornetto takes a prominent place among choirs of angelic musicians, usually paired with at least one voice and with other instruments such as the organ, viol, lute, harp, violin and trombone. For this project Bruce Dickey and Hana Blazikovz take the image of angel musicians as a point of departure for an aural journey ranging from 1600 to the present day. From sacred monodies and motets of the early 1600s to opera arias from the end of the century, via a brief diversion to Erik Satie, we arrive at two specially commissioned contemporary works, all the while focussing on the angelic and radiant pairing of the cornetto with the human voice.
