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Sistina Crux Ebooklet Th19011 O CRUX BENEDICTA LENT AND HOLY WEEK AT THE SISTINE CHAPEL SISTINE CHAPEL CHOIR | MASSIMO PALOMBELLA O CRUX BENEDICTA LENT AND HOLY WEEK AT THE SISTINE CHAPEL SISTINE CHAPEL CHOIR | MASSIMO PALOMBELLA Palestrina: Popule meus (Chorus I) 2 ASH WEDNESDAY HOLY WEEK GREGORIAN CHANT GIOVANNI PIERLUIGI DA PALESTRINA A Entrance Antiphon: Misereris omnium, Domine 4:30 G Hymn: Vexilla regis prodeunt 7:40 Soloist: Cezary Arkadiusz Stoch Cantus; Altus I; Altus II; Tenor; Bassus Gregorian intonation: Roberto Zangari GABRIEL GÁLVEZ (c 1510–1578) Soloists verse 5: Stefano Guadagnini (Cantus); Enrico Torre (Altus); Roberto Zangari (Tenor) B Responsory: Emendemus in melius 3:24 Cantus; Altus; Tenor I; Tenor II; Bassus ORLANDO DI LASSO (c 1532–1594) H Antiphon: Ave Regina caelorum 1:35 GIOVANNI PIERLUIGI DA PALESTRINA (c 1525–1594) Cantus; Altus; Tenor; Bassus C Offertory Antiphon: Exaltabo te, Domine 2:11 Cantus; Altus; Tenor; Bassus; Quintus THE CHRISM MASS D Hymn: Audi, benigne Conditor 4:28 ANON. (attr. GIOVANNI PIERLUIGI DA PALESTRINA) Cantus; Altus; Tenor I; Tenor II; Bassus I Hymn: O Redemptor 1:35 Gregorian intonation: Marco Severin Cantus; Altus; Tenor; Bassus PALM SUNDAY HOLY THURSDAY: THE LORD’S SUPPER FRANCESCO SORIANO (1548/9–1621) GIOVANNI PIERLUIGI DA PALESTRINA E Hymn: Gloria, laus et honor 1:24 J Antiphon: O sacrum convivium 3:18 Cantus; Altus; Tenor; Bassus Cantus; Altus; Tenor; Bassus; Quintus GIOVANNI PIERLUIGI DA PALESTRINA GOOD FRIDAY F Antiphon: Pueri Hebraeorum 5:18 COSTANZO FESTA (c 1490–1545) Cantus; Altus; Tenor; Bassus K Psalm: Miserere 8:20 Chorus I: Cantus I; Cantus II; Altus; Baritonans · Chorus II: Cantus; Altus; Tenor I; Tenor II; Bassus Soloists: Gianluca Alonzi (Cantus I); Enrico Torre (Cantus II); Roberto Zangari (Altus); Alessio D’Aniello (Baritonans) 3 GIOVANNI PIERLUIGI DA PALESTRINA FELICE ANERIO (c 1560–1614) L The Reproaches: Popule meus 3:19 T Voce mea 3:03 Chorus I: Cantus (Julius); Altus (Petrus); Tenor (Alexander); Bassus (Franciscus) Chorus I: Cantus; Altus; Tenor; Bassus · Chorus II: Cantus; Altus; Tenor; Bassus Chorus II: Cantus I (Anibal); Cantus II (Thomas); Altus (Oratius); Tenor (Petrus) Soloists: Stefano Guadagnini (Cantus I – Anibal); Gianluca Alonzi (Cantus II – Thomas); GIOVANNI PIERLUIGI DA PALESTRINA Enrico Torre (Altus – Oratius); Roberto Zangari (Tenor – Petrus) U Exsultate Deo 1:52 Cantus; Altus; Tenor; Bassus; Quintus M Sequence: Stabat Mater 7:27 Chorus I: Cantus; Altus; Tenor; Bassus · Chorus II: Cantus; Altus; Tenor; Bassus TOMÁS LUIS DE VICTORIA V FRANCESCO ROSSELLO (mid-16th century) Antiphon: Regina caeli 3:02 Cantus; Altus; Quintus; Tenor; Bassus N Antiphon: Adoramus te, Christe 1:19 Cantus; Altus; Tenor; Bassus SISTINE CHAPEL CHOIR ORLANDO DI LASSO (Cappella Musicale Pontificia “Sistina”) O Antiphon: Adoramus te, Christe 2:12 Cantus: Filippo Alonzi, Emanuele Buccarella, Francesco Campagna, Claudio Comandatore, Cantus; Altus; Tenor; Bassus; Quintus Leonardo Corradini, Luca D’Ambrosio, Filippo Gomez Paloma, Leoncarlo La Rosa, Alberto Ladisi, TOMÁS LUIS DE VICTORIA (1548–1611) Samuele Lauri, Arturo Lovaglio, Fabrizio Malgeri, Giacomo Maria Moore, Giankier Morales, P Vere languores nostros 2:51 Lorenzo Mosti, Alexis John Rabanal, Federico Sabeddu, Carlo Tagarelli, Andrea Hernandez Tan Kim, Cantus; Altus; Tenor; Bassus Bernardo Taraglio, Giampaolo Vela Ocon Conuntertenors: Gianluca Alonzi, Stefano Guadagnini CIPRIANO DE RORE (c 1515/16–1565) Altus: Francescantonio Bille, Antonello Dorigo, Eric Foster, Stefano Guadagnini, Q O Crux benedicta 2:27 Enrico Torre, Diego Gaston Zamodio Cantus; Altus; Tenor; Bassus Tenor : Gianluca Alonzi, Ermenegildo Corsini, Francesco Di Fortunato, Antonio Orsini, EASTER SUNDAY Cezary Arkadiusz Stoch, Roberto Zangari GIOVANNI PIERLUIGI DA PALESTRINA Bassus: Alessio D’Aniello, Giuseppe Dalli Cardillo, Stefano Fioravanti, Augusto Oswaldo Garay, Patrizio La Placa, Giuseppe Nicodemo, Marco Severin, Mark Spyropoulos R Communion Antiphon: Surrexit pastor bonus 5:09 Chorus I: Cantus; Altus; Tenor; Bassus · Chorus II: Cantus; Altus; Tenor; Bassus Chorus Master of the Pueri Cantores: Marcos Pavan Vice Chorus Master of the Pueri Cantores: Michele Marinelli S Offertory Antiphon: Terra tremuit 1:53 Cantus; Altus; Tenor; Bassus; Quintus MASSIMO PALOMBELLA Maestro Direttore (Chief Chorus Master) 4 5 DALLA GRAFIA MUSICALE gregoriano, l’introito Misereris omnium2, il responsorio nostros di Tomás Luis de Victoria17 e il caratteristico per l’imposizione delle ceneri Emendemus in melius del e complesso O Crux benedicta di Cipriano de Rore18 ci ALL’ESEGESI DEL TESTO compositore spagnolo Gabriel Gálvez3 e l’antifona per immergono nell’austera profondità del Venerdì Santo. l’Offertorio Exaltabo te di Giovanni Pierluigi da Palestri- Gradualmente siamo condotti a percepire, insieme na4. L’inno dei Vespri Audi, benigne Conditor, di Giovanni alla sofferenza, all’abbandono e alla morte del Cristo, Pierluigi da Palestrina5, in qualche modo caratterizza la luce della sua Risurrezione. L’imponente mottetto La Settimana Santa è il cuore di tutte le celebrazioni la rilevanza della situazione esistenziale di Gesù, la sua identitariamente il tempo quaresimale come ponte che in due parti a doppio coro Surrexit pastor bonus19, la liturgiche che si svolgono nel corso di un anno nel cul- sofferenza, le sue stesse parole straziate, la flagellazione introduce nella Settimana Santa, nella Domenica delle brillante antifona di Offertorio della Messa del giorno di to cristiano. Infatti l’anno liturgico (che si snoda tra la e la coronazione di spine, il suo portare la croce, essere Palme. La caratteristica processione delle Palme – che Pasqua Terra tremuit 20 (entrambi di Giovanni Pierluigi da prima domenica di Avvento e la solennità di Cristo Re) crocifisso e morire… tutto ciò ha ispirato in ogni momento imita l’acclamazione delle folle di Gerusalemme a Gesù Palestrina), l’affascinante quanto complesso mottetto si è storicamente strutturato proprio in relazione alla storico la codificazione di un prezioso patrimonio musi- Re e Signore – è accompagnata dall’inno Gloria, laus a doppio coro Voce mea di Felice Anerio21 e il luminoso Pasqua e ai giorni che immediatamente la precedono: cale che continua oggi a risuonare come inequivocabile et honor di Francesco Soriano6 e dall’antifona Pueri Exsultate Deo di Giovanni Pierluigi da Palestrina22 carat- il Giovedì e il Venerdì Santo, nei quali si celebra rispet- riferimento normativo di un preciso contesto liturgico- Hebraeorum di Giovanni Pierluigi da Palestrina7. Il cele- terizzano e identificano l’evento della Risurrezione del tivamente l’istituzione dell’Eucaristica (Missa in Cena esistenziale. bre e solenne Inno dei Vespri della Settimana Santa, Signore come punto di arrivo del solenne ingresso in Domini con la caratteristica “lavanda dei piedi”) e la La Cappella Musicale Pontificia “Sistina”, la più Vexilla regis prodeunt di Giovanni Pierluigi da Palestrina8 Gerusalemme la Domenica delle Palme, dell’ultima cena passione e morte del Signore (Feria VI in Passione Domi- antica formazione corale del mondo, ha seguito nel e l’antifona mariana del tempo quaresimale Ave Regi- il Giovedì Santo, del travaglio, della sofferenza e della ni); la “Veglia Pasquale nella notte santa” che celebra corso della storia la Liturgia Papale in tutte le sue rifor- na caelorum di Orlando di Lasso9 ci guidano verso la morte il Venerdì Santo e, infine, dell’assordante silenzio la Risurrezione del Signore. Esattamente una settimana me, raccogliendo nel tempo un immenso repertorio oggi Messa Crismale dove troviamo l’antifona O Redemptor, del Sabato Santo. Il mottetto Regina caeli di Tomás Luis prima della Pasqua, la Domenica delle Palme, si ricor- custodito nel fondo “Cappella Sistina” della Biblioteca su tema gregoriano, attribuita a Giovanni Pierluigi da de Victoria23 – sul testo dell’antifona mariana del tempo da l’ingresso trionfale di Gesù in Gerusalemme. Que- Apostolica Vaticana. A questo prezioso fondo si è attinto Palestrina10, che accompagna la processione delle pasquale – codifica plasticamente la gioia e l’esultanza sta celebrazione introduce nella Settimana Santa. La per la musica raccolta in questo album, con un criterio anfore contenenti gli oli da benedire. Con l’intenso di un lungo cammino che si conclude e trova senso nella mattina del Giovedì Santo, in ogni chiesa cattedrale, si di ricerca identificato nel tempo liturgico della Quaresi- mottetto O sacrum convivium di Giovanni Pierluigi da Risurrezione. celebra la Messa Crismale nella quale il Vescovo bene- ma e, specificatamente, della Settimana Santa. Il crite- Palestrina11 entriamo nella Missa in Cena Domini, ini- Tutta la musica presente in questa incisione, nel dice gli oli santi che saranno usati in tutte le chiese della rio di ricerca è stato ulteriormente raffinato consultando zio del Triduo Santo, per poi sostare nel Venerdì Santo. corso della storia, è stata composta ed eseguita per Diocesi per l’amministrazione di alcuni sacramenti (bat- le diverse fonti che descrivono le Celebrazioni Papali e Infatti l’essenziale Miserere di Costanzo Festa12, i noti le Liturgie Papali celebrate nella Cappella Sistina. Per tesimo, confermazione, ordine e unzione degli Infermi). la loro prassi musicale nel corso della storia1. Popule meus13 e Stabat Mater a doppio coro14, entram- questo motivo, e in funzione di una credibile pertinenza Storicamente il meglio della produzione musicale per La proposta del materiale musicale segue l’anda- bi di Giovanni Pierluigi da Palestrina, i due Adoramus estetica, in fase di
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