Baptisma - Missa "Jubilaei" - Haec Dies
1) Introduzione - 9'16"
2) Battesimo - 17'06"
3) Ringraziamento - 3'39"
4) Kyrie - 6'08"
5) Gloria - 7'13"
6) Credo - 9'41"
7) Sanctus - 2'03"
8) Benedictus - 8'13"
9) Agnus Dei - 5'09"
10) Haec Dies - 4'32"
"Santa Maria di Loreto" Choir
"San Carlo" Polyphonic Choir
Pesaro Symphonic Orchestra
Live recording - S. Ignazio di Loyola Church - Roma 09/06/2001
"Baptisma: Battesimo" (Demo .mp3 - 30 sec. - 300 Kb)
Cappella Sistina Edition
CD CMPS008 -
price 18.00 Euro
Baptisma - Missa Jubilaei - Haec Dies
Domenico Bartolucci's original idea was to compose a whole series of works on the theme of the seven sacraments of the Church.
"Baptisma", a poem for soloists, female choir and orchestra was first performed in Rome on 2nd May 1947 in the Academic Hall of the Pontifical Institute of Sacred Music, under the direction of the composer himself. On this occasion RAI (Radio Televisione Italiana) provided the singers and the orchestra. Both the critics and the public acclaimed the performance. It was an excellent start and augured well for the future of the project. However, due to some delay in completing the work and the later changes in the liturgical rites and texts following Vatican Council II the idea was never realised. In September 1988, "Baptisma" was again performed by RAI in the Festival of Sacred Music.
Once more, after 40 years, it was received with the same enthusiasm by the public - a consistent recognition of Bartolucci's continuous research for perfection. In his philosophy as a composer, every accentuation of word or phrase, every meaning or sentiment, every reference to action, should find its corrispondence in the economy of sound. The introduction presents the idea of "expectation" as the text suggests: "As a deer longs for a stream of cool water, so I long for you, o Lord".
Bartolucci's original theme is presented in a seraphic way first by the strings and then by the wind instruments accompained by the harmonious accompaniment of the harp. The second part, describing the rite of baptism, is depicted in a more austere atmosphere. The ritualistic dialogue between the soloists (the bass for theminister and the soprano for the catechumen) and the choir creates a dynamic effect, which the composer moulds in a masterly way through his orchestration.
This Mass, wich was published in 1950, was commissioned to the composer by the Central Committee for the Holy Year. For many years it was regularly performed in the Roman Basilicas and one may say that it was the most popular of Bartolucci's liturgical works. The original version, intended for use in the liturgy, had only an organ accompainement, though a performance by the Maggio Musicale Fiorentino in the same year soon called for an orchestral arrangement.
Later, after the Vatican Council's Liturgical Reform, ample space was attainable for blatanly simple "popular" melodies, with the consequence that such music was gradually ousted from the liturgy. Bartolucci, rather than seeing his music fade away on some library shelf, proposes a third version that is more richly orchestrated and destined for the concert hall.
The alleluja verse, taken from the Mass for the First Sunday after Easter (formerly Low Sunday) provides Bartolucci with a pretext to compose a masterpiece for a 4-part choir and organ - here presented in an orchestral version. Unlike most of his liturgical motets (O sacrum convivium, Attende Domine, etc.), which are based on Gregorian themes, here the reference to the Chant is limited only to the first three notes, which Bartolucci uses as a springboard for his melodic inspiration. This masterpiece is taken from the "5"1 Book of Motets" which includes some of the compositions formerly performed by the Cappella Liberiana in Saint Mary Major under the direction of the composer himself.The joyful alleluja alternates with a verse sung partly by the soloists and partly by the choir. In the concluding bars, a choral assigned to a section of the sopranos, is added (the motet ends in 5-part counterpoint) rendering thereby the composition more solemn.
(Borgo S. Lorenzo, Firenze 1917)
director of the Cappella Musicale Pontificia Sistina and member of the Academy of Santa Cecilia, is undoubtedly one of the main personalities in the musical world today both as a composer and as a director.Considered to be the most authoritative interpreter of Palestrina, he has toured several countries with the Choir of the Sistine Chapel (France, Germany, United States, Japan, etc.) as also with the Choir of the Academy of Santa Cecilia (great success had the tournee in the ex Soviet Union). He has also directed the principal Italian orchestras in Rome, Venice, Trieste, Palermo, etc.His work as composer is very intensive. So far the "Ediz. Cappella Sistina" has published more than 34 volumes which include 7 volumes of Motets, 2 of Madrigals, Laudi, sacred music, works for the organ and cembalo, Masses for choir and organ or choir and orchestra, a Miserere, a Concerto for piano and orchestra, a Symphony, a Trio, a Sonata for violin and piano, Variations for violin solo, and a whole series of Oratorios for soloists, choir and orchestra, namely, La Nativita, Baptisma, La Tempesta sul Lago, La Passione, Ascensione, Gloriosi Principes.
8 Masses for 4, 5 and 6 voices choir
La Polifonia della Scuola Romana
La Polifonia della Scuola Romana - Second Edition
La tempesta sul lago
La Tempesta sul lago
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