Lully: Dies irae & Te Deum / Sartori, Allabastrina
Elena Sartori’s aim with this new recording is to reinterpret a pair of Jean-Baptiste Lully’s grand motets through the prism of his Italian heritage. As Sartori notes in her booklet essay, the magnificent Te Deum shares little of musical style or text-setting in common with Lully’s operas. The ornamentation and stylised, asymmetric rhythms that are woven through the texture of his dramatic works and those of his successors such as Rameau are notable by their absence; she finds, instead, ‘a deep-rooted, maternal sense of melody, and an enduring, even unwitting memory of Latinate language that leads the work away from factional claims (of national style).’ Anyone who follows Lully’s music and the French Baroque will want to investigate this new recording, which was made in the Basilica of San Vitale, Ravenna: a Byzantineera building with its own complex history which lends an imposing sense of space to the interpretations.
Description
Elena Sartori’s aim with this new recording is to reinterpret a pair of Jean-Baptiste Lully’s grand motets through the prism of his Italian heritage. As Sartori notes in her booklet essay, the magnificent Te Deum shares little of musical style or text-setting in common with Lully’s operas. The ornamentation and stylised, asymmetric rhythms that are woven through the texture of his dramatic works and those of his successors such as Rameau are notable by their absence; she finds, instead, ‘a deep-rooted, maternal sense of melody, and an enduring, even unwitting memory of Latinate language that leads the work away from factional claims (of national style).’ Anyone who follows Lully’s music and the French Baroque will want to investigate this new recording, which was made in the Basilica of San Vitale, Ravenna: a Byzantineera building with its own complex history which lends an imposing sense of space to the interpretations.
