For approaching a remarkable quarter of a century Antonio Florio and his colleagues at the Centro di Musica Antica Pietà de’ Turchini in Naples have been successfully breathing new life into the forgotten repertory of the Neapolitan Baroque. Now Florio has made an agreement with Glossa for the San Lorenzo de El Escorial-based label to issue the recordings of the ensemble of singers and instrumentalists, now renamed as simply I Turchini.
Much as I revere the composer Claudio Monteverdi (1567-1643), whom I regard as the epitome of musical genius, his preeminence is at least partly an artifact of modern musicology. Monteverdi's music - his madrigals, villanellaas and ritornellos, his masses, and especially his glorious Marina Vespers of 1610 - were all composed in a shared idiom of Italian musicians of his era; Monteverdi's greatness is not his innovation but his felicity. Even his operas were not as sui generis as the modern stagings might suggest, and his greatest opera, L'incoronazione di Poppea, was almost certainly partly the work of Francisco Cavalli… (amazon.com)
La Compagnia del Madrigale’s subtle, yet powerful advocacy of great Italian madrigals continues with Marenzio's 'Quinto Libro di Madrigali a sei voci' from 1591. Their previous recordings including the recent award-winning 'Primo Libro', have demonstrated their fresh approach, imbued with invaluable years of experience in other groups such as La Venexiana and Concerto Italiano. From 2016 La Compagnia have been invited to join the concert season at Wigmore Hall. Marenzio’s 'Quinto Libro' was dedicated to Virginio Orsini, Duke of Bracciano, on the occasion of his marriage to Flavia Peretti: a wedding album full of the latest musical and poetical techniques.
An ode to the cycles of life charts the passages of infancy, youth, maturity and old age against the seasons of the year in the bucolic Lombardy village of Castellaro.
Kim Kashkashian, who won a Grammy last year with her solo viola Kurtág/Ligeti disc, returns with a new trio. Tre Voci includes Italian-American flutist Marina Piccinini and Israeli harpist Sivan Magen. All three musicians have been acknowledged for bringing a new voice to their instruments. Kashkashian, Piccinini and Magen first played together at the 2010 Marlboro Music Festival, and agreed that the potential of this combination was too great to limit it to a single season.