{"id":9033,"date":"2017-03-24T09:17:49","date_gmt":"2017-03-24T08:17:49","guid":{"rendered":"https:\/\/cappellamediterranea.com\/post-discographie\/passio-secundum-johannem-alessandro-scarlatti\/"},"modified":"2023-10-28T18:03:03","modified_gmt":"2023-10-28T16:03:03","slug":"passio-secundum-johannem-alessandro-scarlatti","status":"publish","type":"post-discographie","link":"https:\/\/cappellamediterranea.com\/en\/post-discographie\/passio-secundum-johannem-alessandro-scarlatti\/","title":{"rendered":"Passio Secundum Johannem Alessandro Scarlatti"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"650\" src=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/\/scarlatti_couv-1024x650.jpg\" alt=\"\" class=\"wp-image-7815\" srcset=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/scarlatti_couv-1024x650.jpg 1024w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/scarlatti_couv-300x191.jpg 300w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/scarlatti_couv-768x488.jpg 768w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/scarlatti_couv.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<h4 class=\"wp-block-heading\">Alessandro Scarlatti&#8217;s <em>St John Passion<\/em> was the first to be composed in 17<sup>th<\/sup>-century Italy. Scarlatti\u2019s handling of the Evangelist (a mezzo soprano) is very unique and moving. The voice of Christ (bass) is haloed by strings. In this version, Leonardo Garc\u00eda Alarc\u00f3n incorporates three meditations for choir that come from Scarlatti\u2019s little-known polyphonic responsories for Holy Week.<\/h4>\n<\/div>\n<\/div>\n\n<div class=\"wp-block-columns wp-embed-aspect-16-9 wp-has-aspect-ratio is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h2 class=\"wp-block-heading\">A style of his own<\/h2>\n\n\n\n<p>Alessandro Scarlatti&#8217;s <em>St John Passion<\/em> is radical. His compositional technique was opposite to what was being done on the Neapolitan stage at the time. Scarlatti&#8217;s voices do not have the brilliance of Veneziano\u2019s, but they are rich in pathos and expressiveness, thanks to the intimate rapport between text and sound.<\/p>\n\n\n\n<p><em>&#8220;The Latin text of Scarlatti&#8217;s<\/em> Passio secundum Joannem<em> and Veneziano&#8217;s Passio secundum Joannem follows the Gospel of John (18, 19-37) to the letter. The main characters are the Testo (i.e. the Evangelist, contralto), Christ (bass) and Pilate (tenor), along with the Crowd. The Testo&#8217;s part consists of declamation accompanied by basso continuo alone, except for the beginning and end of the oratorio, which act as a musical framework. The opening in the strings, which is then taken up by the Testo, is astonishing for the immediacy of its expressive power. It is like a switch that triggers a light charged with emotion, in perfect harmony with the Gospel narrative. [&#8230;] The dramatic effect is all the more striking due to the young composer&#8217;s restrained compositional approach.&#8221; &#8211; <strong>Luca Della Li<\/strong><\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-bottom is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/youtu.be\/y5yfi2Rt1Mo\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n<section class=\"container univers-cappella\">\n    <div class=\"univers-content\">\n\n        <div class=\"content-left\">\n            <iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/artist\/2yJfqhVmNzxJw0bMoE6nUX?utm_source=generator\" width=\"100%\" height=\"352\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; 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style=\"padding-top:var(--wp--preset--spacing--30)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<a class=\"link-default link-center link-circle\" href=\"https:\/\/outhere-music.com\/fr\/albums\/scarlatti-passio-secundum-johannem\">\n    <div class=\"content-circle\">\n        <div class=\"circle\"><\/div>\n    <\/div>\n    <span class=\"title\">\n        Purchase the album from Outhere Music    <\/span>\n<\/a>\n\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"http:\/\/cappellamediterranea.com\/wp-content\/uploads\/Scarlatti-Passio-Secundum-Johannem-&#xA9;Joanna-Galuzka-MA-1024x684.jpg\" alt=\"Leonardo Garc&#xED;a Alarc&#xF3;n, Scarlatti, Passio Secundum Johannem; Cappella Mediterranea\" class=\"wp-image-5483\"\/><\/figure>\n<\/div>\n<\/div>\n\n<section class=\"container titre-secondaire\">\n    <h2 class=\"\">About<\/h2>\n            <p><p>The figure of Christ is treated musically in highly intense passages that feature short phrases with an expressive melodic profile. All of Christ\u2019s interventions are marked as &#8220;Largo&#8221; and sometimes &#8220;Dolce&#8221;, which contrasts with the Crowd\u2019s lively and agitated homophonic ensembles. Christ\u2019s role is characterized by &#8220;gravitas&#8221;, a posture that is typical of sovereigns who refuse to break down in the face of adversity, as Ursula Kirkendale puts forward in a 2007 article.<\/p>\n<p>The Crowd\u2019s first appearance is a brief homophonic incision, responding to Christ&#8217;s &#8216;Quem quaeritis? (\u201cWhom do you seek?\u201d) with &#8216;Jesum Nazarenum&#8217; (\u201cJesus of Nazareth\u201d). Its lines are discreetly enriched by the strings. A sombre atmosphere hangs over the first section. Christ&#8217;s melodic gestures all descend, almost always in conjunct motion. Scarlatti builds upon them to create moments of great pathos through delays, such as the ninth on \u201cSinite hos abire\u201d. The Crowd\u2019s brief choral interventions convey the aggressive tone of the text through homorhythmic writing and syllabic singing. Scarlatti&#8217;s style comes through in the relationship between the voices and instruments. The latter do not simply double the vocal lines, but are autonomous parts that considerably enrich the timbre as a whole. [\u2026]<\/p>\n<p><strong>Luca Della Li<\/strong><\/p>\n<\/p>\n    <\/section>\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n\n<section class=\"container partenaires-telechargements no-file\">\n\n    <div class=\"partenaires\">\n        <h3>Our partners<\/h3>\n        <div class=\"partenaires_content\">\n                            <div class=\"partenaire_item\" data-call-modal=\"federation-wb-2\">\n                    <img decoding=\"async\" loading=\"lazy\" width=\"229\" height=\"220\" src=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/federation-WB-e1686838744426.png\" alt=\"\">\n                <\/div>\n\n                <div class=\"modal\" style=\"visibility: hidden;\" data-modal=\"federation-wb-2\">\n                    <div class=\"content-modal col1\">\n                        <img decoding=\"async\" loading=\"lazy\" width=\"229\" height=\"220\" src=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/federation-WB-e1686838744426.png\" alt=\"\" title=\"fe\u0301de\u0301ration WB\" >\n                        <p>This recording was made with the support of the F\u00e9d\u00e9ration Wallonie-Bruxelles<\/p>\n                        <span class=\"icon-close\"><\/span>\n                    <\/div>\n                <\/div>\n\n                    <\/div>\n    <\/div>\n    <\/section><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"In this version, Leonardo Garc\u00eda Alarc\u00f3n incorporates three meditations for choir that come from Scarlatti\u2019s little-known polyphonic responsories for Holy Week.","protected":false},"featured_media":7816,"parent":0,"menu_order":0,"template":"","meta":{"_acf_changed":false},"tags":[],"categorie-discographie":[61],"class_list":["post-9033","post-discographie","type-post-discographie","status-publish","has-post-thumbnail","hentry","categorie-discographie-album"],"acf":[],"_links":{"self":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/post-discographie\/9033","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/post-discographie"}],"about":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/types\/post-discographie"}],"version-history":[{"count":0,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/post-discographie\/9033\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/media\/7816"}],"wp:attachment":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/media?parent=9033"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/tags?post=9033"},{"taxonomy":"categorie-discographie","embeddable":true,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/categorie-discographie?post=9033"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}