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COLONNA, Ensemble Arte-Musica, Francesco Cera

Nisi Dominus / Mottetti e Lamentazioni

Nisi Dominus / Mottetti e Lamentazioni image
Galeria okładek

ZamknijGaleria okładek

1. Nisi Dominus 2. Nisi Dominus: Vanum Est Vobis 3. Nisi Dominus: Cum Dederit 4. Nisi Dominus: Sicut Sagittae 5. Nisi Dominus: Beatus Vir 6. Nisi Dominus: Gloria Patri 7. Nisi Dominus: Sicut Erat 8. Pulchra Es 9. O Caeli Devota 10. O Caeli Devota: Angeli Currite 11. O Caeli Devota: Ecce Ancilla 12. O Caeli Devota: Ad Delicias 13. O Caeli Devota: Haec Ergo 14. O Caeli Devota: Alleluja 15. Diffundite Flores 16. Salve Praetiosum 17. O Lucidissima Dies 18. O Lucidissima Dies: Orbi Sacer 19. O Lucidissima Dies: O Felix 20. O Lucidissima Dies: O Splendida Aurora 21. O Lucidissima Dies: O Vere Beatum 22. O Lucidissima Dies: Alleluja 23. Seconda Lamentazione 24. Terza Lamentazione
  • Francesco Cera - conductor
  • Ensemble Arte-Musica - orchestra
  • COLONNA

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"Giovanni Paolo Colonna (ca. 1637 – 28 November 1695) was an Italian musician and composer. Colonna was born in Bologna, then part of the Papal States. He was a pupil of Filippuzzi in his native city, and of Antonio Maria Abbatini and Orazio Benevoli in Rome, where for a time he held the post of organist at S. Apollinare. A dated poem in praise of his music shows that he began to distinguish himself as a composer in 1659. In that year he was chosen organist at S. Petronio in Bologna, where on 1 November 1674 he was made chapel-master. He also became president of the Accademia Filarmonica of Bologna. Most of Colonna's works are for the church, including settings of the psalms for three, four, five and eight voices, and several masses and motets. He also composed an opera, under the title Amilcare, and an oratorio, La Profezia d'Eliseo. The emperor Leopold I received a copy of every composition of Colonna, so that the imperial library in Vienna possesses upwards of 83 church compositions by him. Colonna's style is for the most part dignified, but is not free from the inequalities of style and taste almost unavoidable at a period when church music was in a state of transition, and had hardly learnt to combine the gravity of the old style with the brilliance of the new. He died in Bologna in 1695."

 

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