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Real Camara; Officium Ensemble - In Parasceve [CD]

Real Camara; Officium Ensemble - In Parasceve [CD]

£17.98
£17.98
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In the latter half of the 18th century, the Portuguese court saw the emergence of distinctive instrumental practices within its sacred repertoire.

Among these innovations were works composed for Holy Week that featured concertante violas but conspicuously omitted violins. This unusual instrumentation became a hallmark not only of daily court music but also of Portuguese music as a whole. This tradition likely reflects the profound influence of Neapolitan music in Portugal, aligning with a broader practice of incorporating solo bass instruments to enhance the solemnity of liturgical occasions, such as Holy Week and All Souls' Day.

One of the most notable composers of the Patriarchal Chapel to embrace this style was Jose Joaquim dos Santos. Born in Obidos in 1747, he entered the Patriarchal Seminary in 1754, studying under the renowned Neapolitan composer David Perez. By 1763, Santos had joined the seminary's teaching staff, where he remained a central figure until his death in 1801. His work exemplifies the rich interplay of local tradition and Neapolitan influence.

'In this performance, his settings have been perfectly realised by the four singers and the vocal ensemble, who approach these texts with great concentration; dynamic contrasts are exactly right. The two most expressive Responsories cannot fail to make a lasting impression. The low instruments are a perfect match to the voices.' – Music Web International

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Description

In the latter half of the 18th century, the Portuguese court saw the emergence of distinctive instrumental practices within its sacred repertoire.

Among these innovations were works composed for Holy Week that featured concertante violas but conspicuously omitted violins. This unusual instrumentation became a hallmark not only of daily court music but also of Portuguese music as a whole. This tradition likely reflects the profound influence of Neapolitan music in Portugal, aligning with a broader practice of incorporating solo bass instruments to enhance the solemnity of liturgical occasions, such as Holy Week and All Souls' Day.

One of the most notable composers of the Patriarchal Chapel to embrace this style was Jose Joaquim dos Santos. Born in Obidos in 1747, he entered the Patriarchal Seminary in 1754, studying under the renowned Neapolitan composer David Perez. By 1763, Santos had joined the seminary's teaching staff, where he remained a central figure until his death in 1801. His work exemplifies the rich interplay of local tradition and Neapolitan influence.

'In this performance, his settings have been perfectly realised by the four singers and the vocal ensemble, who approach these texts with great concentration; dynamic contrasts are exactly right. The two most expressive Responsories cannot fail to make a lasting impression. The low instruments are a perfect match to the voices.' – Music Web International

Track Listing

Jose Joaquim Dos Santos: In Parasceve. Good Friday Responsories

In Primo Nocturno - Responsorium II - Velum templi scissum est

In Primo Nocturno - Responsorium III - Vinea mea electa

In Secondo Nocturno - Responsorium IV - Tamquam ad latronem existis

In Secondo Nocturno - Responsorium V - Tenebrae factae sunt

In Secondo Nocturno - Responsorium VI - Animam meam dilectam tradici

In Tertio Nocturno - Responsorium VII - Tradiderunt me

In Tertio Nocturno - Responsorium VIII - Jesum tradidit impius

In Tertio Nocturno - Responsorium IX - Caligaverunt oculi mei

Details
  • Genre: Classical
  • Product Type: AUDIO CD
  • Barcode: 5425004841551
  • Release Date: April 11, 2025
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