Sistine Chapel Choir & Massimo Palombella – O Crux Benedicta. Lent and Holy Week at the Sistine Chapel (2019) [Official Digital Download 24bit/96kHz]

Sistine Chapel Choir & Massimo Palombella – O Crux Benedicta. Lent and Holy Week at the Sistine Chapel (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:19 minutes | 1,40 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

After Cantate Domino (2015), Palestrina (2016) and Veni Domine – Advent & Christmas at the Sistine Chapel (2017), O Crux Benedicta – Lent and Holy Week At The Sistine Chapel is the fourth installment of the unique collaboration between Deutsche Grammophon and the Vatican’s own Sistine Chapel Choir.

This series of state-of-the-art recordings by the Sistine Chapel Choir for Deutsche Grammophon makes an authoritative and profoundly beautiful case for the continuing relevance of Humanist, Renaissance and Baroque masterpieces in the Papal Celebrations of the 21st Century, and in the wider world.

This album breathes new contemporary life into a precious tradition at the highest artistic level and transfers its listeners into a meditative, peaceful and conscious state.

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Sistine Chapel Choir, Massimo Palombella – Cantate Domino: La Cappella Sistina e la musica dei Papi (2015) [Official Digital Download 24bit/96kHz]

Sistine Chapel Choir, Massimo Palombella – Cantate Domino: La Cappella Sistina e la musica dei Papi (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 59:01 minutes | 1,14 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Cantate Domino, a 2015 release on Deutsche Grammophon, is the first commercial studio recording of the Sistine Chapel Choir, led by Massimo Palombella, which has until now been heard only in live recordings of varying quality. The program is a mix of Gregorian chants and motets that have long been a part of the Sistine Chapel’s liturgical music, including works by Giovanni Pierluigi da Palestrina, Orlande de Lassus, Felice Anerio, Tomás Luis de Victoria, and perhaps most famously, Gregorio Allegri, whose Miserere was once exclusively performed by the choir. This recording features the original fauxbourdon version of the Miserere, found in the Sistine Codex of 1661, which differs from later arrangements and adaptations in its austere simplicity and lack of abbellimenti or ornamentation, such as the famous “top C” passage which many might expect. The sound of the antiphonally divided choir may seem lopsided in this recording, since the remote singers are rather soft and distant in the chapel’s echoic acoustics, and the long reverberation time tends to blur their words, so following the enclosed text is helpful. ~~ AllMusic Review by Blair Sanderson

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