Alessandro Scarlatti is justly famed for his contributions to Read more opera seria and cantata, and indeed it may even be said that he was one of the main progenitors of the Neapolitan style of the early 18th century. In Naples and earlier in Rome he was obligated to write a considerable amount of sacred music, much of it for smaller settings that would be useful in the local churches. Since his music is now becoming more common on disc, it is good to have this recording of a set of four pieces—a gradual, a Marian antiphon, a motet, and a Psalm—all of which reflect rather different approaches to each portion of the liturgy and yet contain a certain commonality in form and structure. Interspersed within these, and no doubt both to provide a transition between then and to fill out the disc, are three organ works, two of which are of substantial length. Given that Scarlatti’s pieces for this instrument are not common, their appearance here is a real treat.
The new album of the band is a statement for all those who are struggling in listening to music even without prefabricated categories and narrowing genre boundaries. "(Sic!)" Is at the same time reminiscence of the models, bowing to the innovators, status quo and outlook. Or as Sammy Amara, singer, songwriter and composer of the Düsseldorfer says: "Our new album has become a Broilers-Best-Of - with songs that nobody knows yet. A favorite album in formation! "(Sic!)" Shows us that we are in agreement about how punk should sound for us, that certain things have to be addressed and that we have to stand still on the edge is always the worst option. "Punkrock, Ska, Pop, Singer / Songwriter-Sounds: All elements, which have always appeared in the sound of the broilers, also play a role here. "The band and what they do best are the focus."
Vivaldi may be best remembered for his virtuosic concertos but, as anyone familiar with his famous D major Gloria will know, he also had a real ear for vocal sonorities. His only surviving oratorio, Juditha Triumphans, has until recently been a well-kept secret. The biblical story of Judith overcoming Holofernes and his army (beheading him herself–no shrinking violet she) was popular with both librettists and composers, offering plenty of opportunities for exuberant tub-thumping. And these Vivaldi seizes eagerly, the opening rabble-rousing chorus (here preceded by a sinfonia reconstructed by Vivaldi scholar Michael Talbot) setting the tone in truly martial fashion.