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  1. Salvator mundi (II) (also set as "When Jesus went"), motet for 5 voices, P. 219
  2. Requiem, for soprano, 2 tenors, bass & chorus: Salvator mundi
  3. Era l'anima mia già presso a l'ultim' hore, madrigal for 5 voices (from Book 5), SV 96
  4. Le cantique des cantiques, for unaccompanied voices: Le jardin clos
  5. Unus ex discipulis, responsory for 4 voices
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  1. Salvator mundi (II) (also set as "When Jesus went"), motet for 5 voices, P. 219
  2. Requiem, for soprano, 2 tenors, bass & chorus: Salvator mundi
  3. Era l'anima mia già presso a l'ultim' hore, madrigal for 5 voices (from Book 5), SV 96
  4. Le cantique des cantiques, for unaccompanied voices: Le jardin clos
  5. Unus ex discipulis, responsory for 4 voices
  6. Tenebrae, Op 72: Amicus meus
  7. Tempro la cetra, madrigal for tenor & strings (from Book 7), SV 117
  8. L'amfiparnasso, madrigal comedy: Daspuò che stabilao
  9. Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080: Fugue 1 (Contrapunctus 1)
  10. Escoutez tous gentilz, chanson for 5 voices ("La bataille de Marignan;" "La Guerre"), M. 6/234
  11. Missa "L'homme armé" sexti toni, for 4 parts: Agnus Dei
  12. Alma Redemptoris mater, antiphon for 5 voices
  13. Hor che 'l ciel, madrigal for 5 voices
  14. Shaping the Invisible, for chorus
  15. Escoutez tous gentilz, chanson for 5 voices ("La bataille de Marignan;" "La Guerre"), M. 6/234
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The attempt to draw correspondences between music and art is fraught with difficulty, for it involves philosophical questions that are unlikely to be solved within the scope of a single album. It works best when the lens is strong enough to permit extreme detail, as in the series of albums released in the early 2000s on the Alpha label, or, conversely, when the correspondences are drawn in very broad strokes. The latter happens here; the vocal group I Fagiolini, which has performed this music in live multimedia ...

Leonardo: Shaping the Invisible 2019, Coro

UPC: 828021617126

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