Italian Early Baroque continued

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Program: #17-28, Air Date: 07/03/17

The lovely Marian Vespers of Cavalli; an examination of the feminine sacred and divine in the early 17th century; and Frescobaldi on accordion!.

I. Francesco Cavalli: Vespero della Beata Vergine Maria (Coro Claudio Monteverdi di Crema Pifarescha/Bruno Gini). Dynamic CD CDS7782.

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The Vespero dellal Beata Vergine completes the recording of the works contained in the collection of eight-voice Vespers published in 1675, which includes the Vespero delli 5 Laudate and the Vespero delle Domeniche. It is the first complete recording of this trilogy, a masterpiece by Francesco Cavalli: the three Vespers will later be combined in a box-set. A worthy heir of Claudio Monteverdi, Francesco Cavalli uses, in the Vespero della Beata Vergine, musical brush strokes of extraordinary impact, under the aegis of an intense, Counter-Feformist spirituality where the deepest religious feeling goes hand in hand with a musical splendor of clear Venetian imprint. The interpretation is entrusted to the "Coro Monteverdi di Cream" and the "La Pifarescha" ensemble conducted by Bruno Gini, one of Italy's greatest specialists in Cavalli's sacred music.

Vespero della Beata Vergine Maria 01:59:41
1 Deus in adiutorium 00:00:56
2 Ave Maria 00:00:24
3 Vespero della Beata Vergine Maria: No. 1, Dixit Do 00:06:05
4 Beata Mater 00:00:35
5 Vespero della Beata Vergine Maria: No. 2, Laudate 00:02:51
6 Nigra sum 00:00:30
7 Vespero della Beata Vergine Maria: No. 3, Laetatus 00:03:30
8 Laeva ejus 00:00:25
9 Vespero della Beata Vergine Maria: No. 4, Nisi Dom 00:03:21
10 Speciosa facta es 00:00:23
11 Vespero della Beata Vergine Maria: No. 5, Lauda Je 00:03:42
12 Ave maris stella 00:03:15
13 Virgo Potens 00:00:36
14 Vespero della Beata Vergine Maria: No. 6, Magnific 00:05:24
Musiche sacre concernenti messa, e salmi concertat 00:00:00
15 Musiche sacre: No. 25, Sonata à 6 00:04:52
16 Musiche sacre: No. 19, Ave Regina caelorum 00:05:48
17 Musiche sacre: No. 20, Regina caeli laetare 00:04:16
18 Musiche sacre: No. 21, Salve Regina 00:06:14
19 Musiche sacre: No. 22, Alma redemptoris Mater 00:05:26

II. Frescobaldi Gesualdo Solbiati (Francesco Gesualdi, accordian). Brilliant Classics CD 94972.


On this new and interesting release, the works of two Italian Renaissance masters are performed on the accordion. The accordion is slowly emancipating, shedding its “light entertainment” image and claiming its right as a serious and valuable musical instrument. Its possibilities are enormous, its sounds and sonorities as varied as a church organ. This new recording presents keyboard works by Frescobaldi and Gesualdo, works which were intended for either harpsichord or organ, and therefore may be played on any keyboard instrument. The realization on accordion is fascinating in its fusion of both the harpsichord (its tactile precision) and the organ (its sustained polyphony.) Italian Francesco Gesualdi is one of the world’s foremost accordionists. He commissioned works for his instrument with many contemporary composers, and is well connected with composers such as Marucio Kagel, Sofia Gubaidulina and Wolfgang Rihm.

1 Dal II Libro di Toccate: Toccata I
Girolamo Frescobaldi 4:42

2 Dal II Libro di Toccate: Toccata II
Girolamo Frescobaldi 4:44

3 Dal II Libro di Toccate: Toccata III, da sonarsi alla Levatione
Girolamo Frescobaldi 8:51

4 Dal II Libro di Toccate: Toccata IV, da sonarsi alla Levatione
Girolamo Frescobaldi 6:58

5 Dal II Libro di Toccate: Toccata VIII, di Durezze e Ligature
Girolamo Frescobaldi 5:01
Dal I Libro di Toccate

6 Partite sopra l'Aria della Romanesca (1-14)
Girolamo Frescobaldi 21:49

7 Canzon francese del Principe
Carlo Gesualdo 6:41

8 II Movimento - da Gesualdo per Gesualdi
Alessandro Solbiati

III. La Rosa e La Dea (Il Cantiere delle Muse/Roberto Caravella). III Milennio CD CDA0245

La Rosa e La Dea: Eros e Femminino Sacro nella Musica Italiana dell'Etá Barocca

From Roberto Caravella: A treaty...written evidence..not enough to provice us a truth - whereas a paiting or an architecture can express much more because they are the materialization of the soul and life itself of the man that has created them. The senses are directly involved with the work and even more in the musical language, the sound gets deeper with such a power that is capable of destroying as well as rebuilding the body and soul. Therefore to perform today, music that does not belong to the current time, is like living and transmitting to the listener what the interior "eye" feels - looking at a music score like it was a black and white drawing and attempting to create a colorful painting. To achieve this was not enough to make usr etheoreticaly indication or alleged philologically correct reconstruction, instead it's creating musical images full of life that would reflect a way of "feeling" the baroque era.

>Caravella, Roberto : Sicut Rosa, antiphon for soprano, alto & strings
>Uccellini, Marco : Sinfonia La gran battaglia
>d'India, Sigismondo : Dialogo della Rosa, for 2 voices & continuo
>Caravella, Roberto : Variazioni sul basso di ciaccona, for guitar (after A. Piccinini)
>Rossi, Luigi : Due labra di rose, for 2 sopranos & continuo
>Falconieri, Andrea : La suave melodia y su corrente
>Graziani, Bonifazio : O Qualis Hodie, motet for alto, theorbo & continuo
>Caresana, Cristofaro : Tarantella, duet for 2 voices no 33
>Ariosti, Attilio : La Rosa
>Ariosti, Attilio : Sonata no 9 for viola d'amore, archlute, baroque guitar & cello in G minor (reconstructed by Thomas
>Caravella, Roberto : Rosa Delectabilis, aria sulla passacaglia, for soprano, violin & strings

 

Composer Info

Francesco Cavalli, Girolamo Frescobaldi, Carlo Gesualdo, Alessandro Solbiati, Roberto Caravella, Marco Uccellini, Luigi Rossi, Andrea Falconieri, Bonifazio Graziani, CRISTOFARO CARESANA, ATTILIO ARIOSTI, Sigismondo D'India

CD Info

CD CDS7782, Brilliant Classics CD 94972, III Milennio CD CDA0245