Cansino: Stabat Mater Orquesta Filarmónica de Málaga & Antonio Del Pino

• Juan Bautista Cansino (1826 - 1897):
• 1Cansino: Stabat Mater: I. Stabat Mater dolorosa05:22
• 2Cansino: Stabat Mater: II. Cuius animan gementen04:30
• 3Cansino: Stabat Mater: III. Quae moerebat et dolebat04:07
• 4Cansino: Stabat Mater: IV. Quis non posset contristari05:05
• 5Cansino: Stabat Mater: V. Eja Mater fonts amoris03:58
• 6Cansino: Stabat Mater: VI. Fac me vere tecum fleret04:09
• 7Cansino: Stabat Mater: VII. Virgo virginium praeclara06:51
• 8Cansino: Stabat Mater: VIII. Fac me plagis vulnerari05:45
• 9Cansino: Stabat Mater: IX. Fac me cruce custodiere02:46
• 10Cansino: Stabat Mater: X. Quis non posset contristari04:02
• Total Runtime46:35

Info zu Cansino: Stabat Mater

The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the city’s first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift.

Stabat Mater: The “everyday” music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy. Moreover, since a prerequisite to fill some of the few music posts allowed by the concordat was the candidate’s clerical status, many aspiring secular musicians saw their chances of finding a stable professional occupation in a cathedral cut short. On the other hand, the phenomenon just described favoured a type of repertoire in which the presence of an orchestra with large timbral forces was one of the most distinctive features of this practice. This gave rise to splendid musical evenings in which, based on sacred texts and with a large number of vocal and instrumental performers, works of an open lyrical character were premiered. These works took place in churches in connection with the Lenten services of the city’s penitential brotherhoods.

Carlos Alvarez, baritone
Lourdes Martin, soprano
Luis Pacetti, tenor
Alba Chantar, soprano
Costanza Ávila, mezzosoprano
Coro Catedral de Malaga
Orquesta Filarmonica de Malaga
Antonio del Pino, conductor

Keine Biografie vorhanden.

Booklet für Cansino: Stabat Mater