7 cycles are, chronologically: "Ad Pedes" (the foot) / "Ad Genua" (To knees) / "Ad manus" (the hands) / "Ad Latus" (Together) / "Ad Pectus" (At the chest) / "Ad Cor" (the heart) / "Ad Faciem" (In the face).
On this record recorded in 1994 and released in 1997 with a mainly Italian squad, practically everything is perfect.
I feel just two small reserves: the tenor against the trunk a little weak and the voice a little "tinny" that differs from other soloists; and the power difference between the sopranos which is reflected in their duets.
Otherwise the Swiss leader restores us a perfect sense of dramaturgy, vocal and instrumental qualities, enchanting mastery of color, a respect for the text and diction.
Unhurried rhythm, everything is there.
An additional praise to deep bass, particularly noteworthy.
Having felt privileged to sing, I know what it takes mastery, sensitivity and phrasing to make it as well.
Any product simply on the listener a great pleasure and an obvious musical and vocal approval. For me it is the best version of this composition, with a take of her ample, round but mostly respectful of the work and style, without anachronism. Even a perfect mastery of the great Swiss chef Diego Fasolis.
The opening piece of Johann Rosenmüller (XVII) blends remarkably in the heart of the style of the album, and intelligently introduced the musical mind masterpiece that follows.
This disc has focused on achieving "4 stars" of the "Music of the World" and "Directory 10" of "Classica".
A record to be included in any of the sacred baroque disco lover.
