The music of Campra, air, leaves behind the torments of hell, judgment of souls and wild trumpets that are often put in the genre. This is a very calmed approach of death that looks good on the composer Epicurean who seemed not to fear God's wrath.
This recording from 1979 was performed with ensembles founded by Gardiner The Monteverdi Choir and the English Baroque Soloists.
Campra's Requiem is primarily a choral work, for five voices: sopranos, altos, tenors, baritones and basses. If the choruses are very present, soloists, 5 in number are also very active. At that time, the orchestration is not clearly defined in religious works in which the Latin text is preponderant. Campra just requires a flute, a few strings and, of course, organ. As for Bach or Handel, the music teacher at every opportunity to add oboe, theorbo, bassoon following musicians and choral workforce made available by the parish where the interpretation of this requiem. The requiem, lasting fifty music is cut into 7 parts chosen from the Catholic ritual, without following it to the letter. We find no lacrymosa or rex tremendae for example.
1 - Introit: This is the instrumental ensemble which introduces the Mass in F major, a surprising tone very peaceful in a requiem. Campra has read the text, which speaks of peace and light, eternal rest and not of lamentation. Some notes on the organ, a meditative sentence the strings leads to a Gregorian choir style outlined by the bass. Each group gets a different tessitura reason polyphonically. The speech comes alive on the phrase "And a perpetual light shine unto them." Some critics found the "sentimentality" in the direction of Gardiner (word for assassin least!) I do not agree at all and commentators of a well known site also! Since the 60-70 we have become so used to listen to baroque music with colors and accents sliced, opposite the classical-romantic style of previous decades (Louis Frémaux in 1960), that the we forget that we mean religious music, not a concerto grosso or a series of rigaudons Versailles' And indeed, Gardiner and his musicians played the greatness and expand the space by recording in a London church . The music flows with spirituality. As usual, the English chef live music meditation and hope it inspires.
2 - Kyrie: A short sinfonia illuminated by a few slender notes theorbo call on the tenor which states "Kyrie Eleison". This prayer of repentance extract of the Ordinary of the Latin Mass sometimes plaintive want (we beg the forgiveness of peach week). The baritone extends this sincere meditation moment in "Christe eleison". Then the chorus repeats the text in a homophonic with more fervor and supplication. With a restrained tempo, Gardiner conducted this page with fervent thanks. It is regrettable miking a little confused on the chorus.
4 - the Offertory is the most developed part. This is a long text that begs the Divine to release souls. Fairly serious atmosphere, the page is written in F minor. The orchestral introduction is surprising precipitated by motives which concludes and are reminiscent of Italian music of the time (Vivaldi). Had it not been criticized Campra too operatic style to its mass? The duo tenor and baritone backdrop of the choir, with its changes of energetic rhythms, is an admirable way or alternate trust and fear. Gardiner built precisely its vocal and instrumental interlacing.
All other parties have the same qualities: a rich and well highlighted by the head polyphony. Special mention for the flute solo that accompanies the tenor in the beginning of the "Agnus Dei."
