Altri Canti d’Amor
RELEASE DATE: September 8th 2017
RECORD LABEL: Challenge Classics
2. Sonata Prima sopra “Fuggi dolente core” – Biagio Marini (1594-1663)
3. L’Eraclito Amoroso – Barbara Strozzi (1619-1677)
4. Aria Decima Terza sopra “Questa bella sirena” – Marco Uccellini (1603-1680)
5. Diminuzioni sopra il “Lamento d’Apollo” – Leonor de Lera
6. Chiacona à 3 col Basso – Tarquinio Merula (1595-1665)
7. “Ancor che col partire” per la viola bastarda – Riccardo Rognoni (1550-1620)
8. Canzon à 3 – Francesco Cavalli (1602-1676)
9. Sonata nona Op.5 – Marco Uccellini (1603-1680)
10. Lucidissima Face – Francesco Cavalli (1602-1676)
11. Aria Quarta sopra la “Ciaccona” à 3 – Marco Uccellini (1603-1680)
Love, which encompasses an endless array of other emotions that spread from the brightest to the most sombre, is the subject of this CD. An emotion that is the principal argument of the majority of vocal pieces that exist (madrigals, songs, operas) and of many instrumental works, not only dating from the baroque period but also from those that precede and follow it. A sentiment with such extraordinary power, that its presence can be felt in every moment of our lives; capable of moving us and producing such intense sensations that our very existence revolves around it.
Music, the conveyor of affects that excite the passions of he who listens, has the ability to represent love in all its forms with such clarity and precision that it conjures up sentiments within the listener and render one powerless to emotion.
This debut CD of L’Estro d’Orfeo ensemble takes its title “Altri Canti d’Amor” from a madrigal found in Claudio Monteverdi’s Eighth Book of Madrigals. The program focuses on the music of the Italian seicento and more precisely on the schools of northern Italy; mainly the Venetian school but also those of Lombardy (Richardo Rognono) and Modena (Marco Uccellini). It combines both instrumental and vocal pieces- the latter in intrumental versions- connected to the subject of ‘love’. Using instruments instead of the voice may initially seem perverse for such a title, but to me, it suggests the idea of “other ways of singing about love”; hence, we are in fact following a truly authentic musical tradition. Imitating the voice was one of the main goals that 17th century players aspired to, and something that is often mentioned in the many treatises of the leading theorists of the time; instructing readers how best to play both wind and string instruments with “good taste”. In this way, we want to emphasize the close relationship that existed between the instrumental and the human voice and the resultant influence of the latter (by imitation) on the technique and performance practices of the former. This said, instruments themselves, of course, have their own voice and are as equally capable of “singing”; offering their own timbre and extensive palette of idiomatic and individual colours. We thus reaffirm the great value and importance that instruments started gaining in the first half of the 17th century, where they ceased serving merely as accompaniments to the voice and gradually became the main protagonist of the musical scene, attaining a level of virtuosity that had never been explored before.
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