Materiale per lo sviluppo dell’abilità di ascolto. Livello elementare (A2)
The Ferrarese Luzzasco Luzzaschi, a pupil of Cipriano de Rore and teacher in turn of Girolamo Frescobaldi, much admired and praised by the self-same Gesualdo da Venosa, has passed into history as the principal musical inspiration for the Concerto delle Dame, that vocal trio with instrumental accompaniment (for which Glossa has very recently produced a new recording).
Monteverdi's madrigals were the laboratory in which he sought the connections between music and the emotions, and none are more moving and evocative than those of his eighth and final book, the "Madrigali Guerrieri et Amorosi," (1638). This release offers only a selection, but puts the music's drama in gratifyingly high relief. It's a beautifully sung, ravishingly played and lushly recorded collection, "Madrigali Guerrieri et Amorosi," by Jordi Savall and La Capella Reial de Catalunya (Astree E 8546). Dynamics are supple, coloration is flexible and expressive dissonances are pointed up in a way that gives works like "Lamento della Ninfa" and "Gira il nemico" an unusually vivid edge.
"For the non-specialist," observed Early Music World, "detailed consideration of Marenzio's large body of madrigals remains a vain quest in the light of the lack of comprehensive accessibility to either printed or recorded music." This release from Spain's Glossa label helps rectify the situation with precise yet stylistically sensitive performances of a key set of Luca Marenzio madrigals from the vocal group La Venexiana.
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.
The elegant rhetoric betrays Gesualdo's aristocratic background, and its internal contradiction neatly reflects the baffling ingenuity of his work, whose dissonances were literally centuries ahead of his time, their bold gambits regarded with suspicion by his 16th-century peers, and even now testing the imagination and ingenuity of even as accomplished a team as the Hilliard quartet.
This recording of lute music may be of most interest to fans of the lute and of the Renaissance-Baroque transition era, but it will be of considerable interest to them: it marks the first recording of the Libro d'intavolature di liuto, or Book of Lute Tablatures, of Vincenzo Galilei (1584). Galilei was the father of none other than astronomer Galileo. The work is given the title The Well-Tempered Lute here; that was not Galilei's title, but the music was apparently the first collection intended to demonstrate the possibilities of equal temperament that Bach would exploit so dramatically a century and a half later. Some scholars have opined that this was a primarily theoretical work; as music, it is both technically difficult and a little monotonous, consisting of groups of dances that may or may not have been danced to. Lutenist Žak Ozmo makes a good case for these little pieces as performer's music, differentiating learned counterpoint from works of a more expressive character.