Missa pontificalis
1 - Kyrie (04:05)
2 - Gloria (06:43)
3 - Credo (09:19)
4 - Sanctus (02:51)
5 – Benedictus (01:51)
6 - Agnus Dei (02:08)

Missa secunda pontificalis
1 - Kyrie (04:17)
2 - Gloria (08:04)
3 - Credo (09:30)
4 - Sanctus (02:44)
5 - Benedictus (02:47)
6 - Agnus Dei (01:51)

Coro Vallicelliano di Roma

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01.- In patris memoriam- Traedet animam meam 
02.- In patris memoriam- Manus tuae fecerunt me 
03.- In patris memoriam- Scio quod Redemptor 
04.- In patris memoriam- Dimitte_ dimitte me 
05.- In patris memoriam- Requiem aeternam 
06.- Messa da requiem- Requiem - Kyrie 
07.- Messa da requiem- Graduale 
08.- Messa da requiem- Tratto 
09.- Messa da requiem- Dies irae 
10.- Messa da requiem- Offertorio 
11.- Messa da requiem- Sanctus 
12.- Messa da requiem- Benedictus 
13.- Messa da requiem- Agnus dei 
14.- Messa da requiem- Lux aeterna 
15.- Messa da requiem- Libera me

Emilia Bertoncello (Soprano)
Milan Nuova Cameristica Orchestra
Nuovo Coro Polifonico Ensemble
Arturo Sacchetti (Conductor)

The oratorio In patris of 1910, composed after the death of Perosi's father, is perhaps his most impressive and instantly accessible and attractive vocal-orchestral work of all. There is little of the lugubriousness and crushing religious piety which can be an acquired taste in this 36-minute work. The coupling dates from 1897, in memory of a 14-year-old boy singer who was Perosi's favorite pupil; Puccini loved it and admitted cribbing a few notes from the Rex tremendae maiestatis when working on Tosca! --- recordsinternational.com

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1 	Parte Prima: L'Annunciazione 	24:20
2 	Parte Seconda: Il Natale 	38:05

Maria - Mirella Freni (soprano)
Storico - Claudio Strudthoff (baritone)
Angeli - Giuseppe Nait (tenor), Jeda Valtriani (soprano), Ortensia Beggiato (mezzo)
Coro Polifonico di Milano
Orchestra Dell'Angelicum Di Milano
Carlo Felice Cillario - conductor

Lorenzo Perosi (1872–1956) is hardly a household name. Even Grove Online can barely tease two paragraphs out of his biography. Yet, his oratorios seem to have enjoyed tremendous success at the turn of the century, attracting the attention of Romain Rolland and other notables. In addition to those 11 works, compressed into the years directly at the turn of the century (1897–1904), Perosi also wrote 33 masses, five concertos, 18 string quartets, and some other scattered items. But the church compositions have indeed continued to enjoy relatively frequent performances within their niche, including the active repertoire of the Sistine Chapel choir. Many of these works, including masses and several of the other oratorios, are obtainable on the Bongiovanni label. This, however, is my first encounter.

Perosi’s fifth oratorio, The Birth of the Redeemer , dates from 1899, the second year of his tenure as director of the Sistine Chapel choir, and plies a surprisingly avant-garde course, at least compared to what I knew of contemporary Italian music (restricted as it is to Puccini and the verismo opera composers). While the vocal parts tap into a highly wrought operatic vein, the shifting colors, pure instrumental groupings, and even the handling of the chorus may recall for some listeners the world of the early Mahler symphonies (especially the Second). Effects are spatial and antiphonal rather than explicitly dramatic or narrative. Elsewhere, the music eclectically draws from Palestrina-like Renaissance counterpoint formula (in a capella passages), or the world of 19th-century sacred music from Schubert to Parsifal . One is struck by occasionally adventurous, vagrant chromatic harmonies, as well as many sustained ninth and added-sixth chords. Extended, winding passages for horn choir lead into impressively ponderous episodes for brass alone. In addition to the Palestrina imitations, Perosi deploys other learned devices with a sure hand, including a throbbing, agitated fugue for strings near the beginning of part II that recalled for me the Berlioz of L’enfance du Christ , a work Perosi’s oratorio often resembles in atmosphere (even if it falls short in drama or subtlety).

The text is standard Nativity boilerplate, cobbled from scripture and standard Latin hymns (“Ave Maria,” “Ecce ancilla Domini”), but Perosi responds to it inventively. The extended instrumental interlude, “La notte tenebrosa,” employs oboes and flutes to suggest an appropriately pastoral mood, though the lush and often-chromatic string entrances suggest echoes of Wagner or, more directly, of Perosi’s older contemporary Pfitzner. Among the soloists, the most effective voice belongs to the most omnipresent, the baritone Historian (Storico), whose warm, covered timbre carries smoothly throughout his many speeches. However, even he evinces some strain in his upper register near the end of “La notte tenebrosa.” The other soloists blend well in ensembles, but fare far less well in their exposed moments. The Maria, soprano Emilia Bertoncello, waxes squally and shrill with her climactic “Ecce ancilla Domini” near the end of part I, though elsewhere her tone is more consistent and pleasant. The tenor finds himself overmatched by his high-lying “Spirito sancto” phrase at the opening of the same movement, his occasional choked entrances, shaky pitch, and bellowed high notes rendering some parts of the recording almost unlistenable.

For the most part, though, the provincial, North Italian ensemble forces play and sing the stuffing out of the piece, with only a few lapses in wind intonation and attack. In keeping with the usual practice of the Bongiovanni label, the recording is taken from a live broadcast (from October 2007). Latin texts are provided, along with translations in Italian and English. Although die-hard Elgar fans are likely to remain unimpressed by the work, it is still recommended for listeners curious about the byways of church music at the fin de siècle , particularly south of the Alps. And, countless little touches do stay in the mind, such as the woodwind bird calls accompanying the soaring angelic chorus “Gloria in altissimo Deo” in the middle of part II.

The second disc is filled out by a curious antiphonal piece for orchestra, recorded in 2000 in a notably more echoing space and with a less accomplished orchestra. Titled The Village Festival , this 1912 work has a roughly ABA structure and is driven by pulsing ostinatos. Much of the noisier material consists of banal rising and falling scale passages, not always executed accurately or in tune. I can’t imagine I will be returning often to this trifle, even when I listen to the oratorio. ---FANFARE: Christopher Williams, arkivmusic.com

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1 - Prologo; Mosè tra i pastori Madianiti	 36:58
2 - Parte Prima; Il roveto ardente	 35:35
3 - Parte seconda; L'esodo	25:30
4 - Parte terza; Il passaggio del Mar Rosso	32:28

Cast:
Raguele: Carlo Tallone, basso
Sephora: Tatiana Korra Elmazi, soprano
Mose: Marco Camastra, baritono
La voce di Jehova: Carlo De Bortoli, basso
Faraone: Sergio Bensi, baritono
Aronne: Aldo Bertolo, tenore
Il capofamiglia: Giovanni Maria Puddu, tenore
Maria: Lorella Antonini, soprano

Orchestra "G.B. Viotti"
direttore Arturo Sacchetti (organ)

Monsignor Lorenzo Perosi (21 December 1872 – 12 October 1956) was an Italian composer of sacred music and the only member of the Giovane Scuola who did not write opera. In the late 1890s, while he was still only in his 20s, Perosi was an internationally celebrated composer of sacred music, especially large-scale oratorios. Nobel Prize winner Romain Rolland wrote: "It's not easy to give you an exact idea of how popular Lorenzo Perosi is in his native country." Perosi's fame was not restricted to Europe. A 19 March 1899 New York Times article entitled "The Genius of Don Perosi" began: "The great and ever-increasing success which has greeted the four new oratorios of Don Lorenzo Perosi has placed this young priest-composer on a pedestal of fame which can only be compared with that which has been accorded of late years to the idolized Pietro Mascagni by his fellow-countrymen." Gianandrea Gavazzeni made the same comparison: "The sudden clamors of applause, at the end of the [19th] century, were just like those a decade earlier for Mascagni."

In his day, Perosi was best known for his oratorios, large-scale works for chorus, soloists, and orchestra based on Latin texts. While the works can seem slow-paced today, at the time they were quite novel not only for their fusion of Renaissance polyphony, Gregorian chant, and lush, Verismo melodies and orchestrations, but also for Perosi's deep-seated faith in the words that he had set. The oratorio as a genre had been in decline in the preceding centuries, and Perosi's contributions to the canon brought him brief but significant international acclaim.

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String Quartet n. 13
1. I Moderato
2. II Adagio
3. III Con moto moderato

String Quartet n. 14
4. I Moderato
5. II Andante piutosto lento
6. III Mosso

Piano Quintet n. 4
7. I Andante
8. II Adagio
9. III Mosso

Ensemble L.Perosi:
Marcello Bianchi (violín)
Daniele Guerci (violín)
Alessandro Ghé (viola)
Claudio Merlo (violoncello)
Daniela Demicheli (piano) (7-9)

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