Transmitting from an alternate universe where David Lynch is supreme diety the Orb's Pomme Fritz is the national anthem, and Flanger and Pole are the world's most venerated heroes, Juxta Phona Offtehsky set forth a treatise of intelligent and challenging electronic music. Sliding through a series of surrealist landscapes, this album embeds texture and feeling into your subconscious through dense and smoky occult electro-jazz rites. Capturing a prismatic work reflecting both organic and digital faces, Somnia is proud to release this unique and highly visual experience. Limited to 777 copies, soy ink on 100 percent recycled papers. Numbered, sewn, and sealed in wax.
Three contrasting versions of the 'Stabat Mater', all most attractive and all composed within 20 years, in the second half of the 18th century. These excellent performances under Daniel Cuiller's direction are also all first recordings - and for Abos and Gasparini, first entries in the CD catalogue. An enterprising release, of great interest.
Giovanni Gualberto Brunetti (1706 - 1787) lived a large part of his life in Pisa, Italy, where he was director of music of the cathedral. Though he composed operas as well as other works he composed mainly for the church. According to the musicologist Paolo Peretti his Stabat Mater was more or less copied , in 1825, by Antonio Brunetti, probably a nephew of his, who changed some things, replaced three sections by his own and sold it as his own work: "Stabat Mater all'imitazione del'esimio Sig.Pergolesi". From this we might conclude that in fact Giovanni Gualberto himself had already made an imitation of Pergolesi's. Especially the first four parts have indeed a strong resemblance. Nevertheless, though Giovanni took Pergolesi's as an example, his contribution to the music is such, that it surely can be regarded as a work of his own. In this respect it is interesting too, to notice that he used a different text than Pergolesi.
This anthology of devotional music from 18th-century Venice and Naples offers an interesting and varied programme. Best known is Pergolesi’s Stabat mater, but the settings by Domenico Scarlatti and Bononcini stand well in comparison. The motets by Lotti, Caldara and Alessandro Scarlatti are real discoveries; Norrington’s performances of the latter are particularly fine. Guest’s Pergolesi suffers from a focus of sound which makes the interpretation seem somewhat generalised. However, all these performances give pleasure, while the music is melodically fresh and rhythmically vital.-Terry Barfoot