Messa a 4 in F major, for 4 voices, chorus, organ & orchestra
Stabat Mater, for voice, flute, oboe, 2 viols & organ
Messa a 4 in A major, for 4 voices, chorus, organ & orchestra
The career of Giovanni Benedetto Platti (1697-1763), almost 20 years younger than Vivaldi, nevertheless overlapped with that of the Venetian master. A stylistic progressive, he was among the first composers to write for the new and experimental fortepiano. The three sacred works recorded here are his only compositions in the genre to have survived. The two masses are definitely reflective of their time, with sunny, homophonic choral settings plowing rather diffusely through the wordy texts of the Glorias and Credos, lightly ...
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The career of Giovanni Benedetto Platti (1697-1763), almost 20 years younger than Vivaldi, nevertheless overlapped with that of the Venetian master. A stylistic progressive, he was among the first composers to write for the new and experimental fortepiano. The three sacred works recorded here are his only compositions in the genre to have survived. The two masses are definitely reflective of their time, with sunny, homophonic choral settings plowing rather diffusely through the wordy texts of the Glorias and Credos, lightly interspersed with solos, and with several movements capped off by big fugues that, though accomplished, don't quite seem to fit with the rest of the music. The most interesting work of the three is the Stabat Mater for bass, instrumental ensemble, and organ; necessarily a more serious work, it is, as annotator Andrea Zaccaria pointed out, more Baroque in feel. Yet it is in no way modeled on the settings of this text from the High Baroque. For solo bass with strings and organ...
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