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Angeli, zingare & pastori

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Angeli, Zingare & Pastori

Renaissance music from Venice, Naples and Rome

The Royal Wind Music

Conductor: Paul Leenhouts.

Content

[1] Intrada X [a6] Alessandro Orologio.
  • Intradae Alexandri Orologii… Liber primus, Helmstedt 1597 (c1550 – 1633)
[2] Pavin of Albart & Gallyard [a5] Innocentio Alberti.
  • British Library, London, MS Royal Appendix 74 [‘Lumley Books’] (c1535 – 1615)
[3] Ballo detto ‘Il Conde Orlando’ [a5] Simone Molinaro Intavolatura di liuto, libro primo, Venice 1599 (c1570 – after 1633)
[4] El travagliato [a3] Vincenzo Ruffo.
  • Capricci in musica a tre voci, Milan 1564 (c1508 – 1587)
[5] Canzon sopra ‘Falt d’argens’ [a4] Girolamo Cavazzoni.
  • Intavolatura, cioè ricercari, canzoni, himni… Libro primo, Venice 1543 (c1525 – after 1577)
[6] Canzon: la Chremasca [a4] Tarquinio Merula.
  • Il primo libro delle canzoni a quattro voci…, Venice 1615 (c1595 – 1665)
[7] Canzon: la Poggina [a4] Gioseffo Guami.
  • Partidura per sonare delle canzonette alla francese, Venice 1612 (1542 – 1611)
[8] O quam suavis est Domine spiritus tuus [a7] Jacopo Corfini.
  • Concerti di Iacopo Corfini… continenti musica di chiesa…, Venice 1591 (c1540 – 1591?)
[9] Adoramus te, Christe [a4] Paolo Agostini.
  • Basilica di San Giovanni in Laterano, Rome, MS 8925 Rari, st. mus. 29 (c1625-26) (c1583 – 1629)
[10] Diligam te, Domine [a6] Ascanio Trombetti.
  • Il primo libro di motetti accomodati per cantare e far concerti, Venice 1589 (1544 – 1590)
[11] Praeambulum legatura [a5] Attr. Girolamo Frescobaldi.
  • F 15.15 (1583 – 1643)
[12] Ricercar ottavo, obligo di non uscir mai di grado [a4] Girolamo Frescobaldi.
  • Recercari et canzoni francese fatte sopra diversi obblighi in partitura, Rome 1615 (1583 – 1643)
[13] Ricercar del primo tono [a4] Andrea Gabrieli.
  • Ricercari di Andrea Gabrieli organista di Venetia…, Venice 1595 (c1533-1585)
[14] Salterello detto Trivella [a5] Orazio Vecchi.
  • Selva di varia ricreatione, Venice 1590 (1550 – 1605)
[15] Odecha ki’anitani[a6] Salomone Rossi.
  • Hashirim asher lish’lomo, Venice 1623 (1570 – c1630)
[16] Sinfonia [a5].
[17] Gagliarda detta Narciso [a5].
  • Il secondo libro delle sinfonie et gagliarde, Venice 1608
[18] Gagliarda prima detta la Galante [a5] Giovanni Maria Trabaci.
[19] Gagliarda terza detta la Talianella [a5] (c1575 – 1647).
  • Il secondo libro de ricercate & altri varii capricci, Naples, 1615
[20] Chi la gagliarda, donne, vo’ imparare [a4] Baldassare Donato.
  • Napollitane, et alcuni madrigali, Venice 1550 (c1529 – 1603)
[21] All’arm’ all’arme [a5] Lodovico Agostini.
  • Canzoni alla napolitana, libro primo, Venice 1574 (1534-1590)

The Royal Wind Music.

  • Conductor: Paul Leenhouts
  • Petri Arvo
  • Alana Blackburn
  • Stephanie Brandt
  • Ruth Dyson
  • Eva Gemeinhardt
  • Arwieke Glas
  • Hester Groenleer
  • Karin Hageneder
  • Marco Paulo Alves Magalhães
  • María Martínez Ayerza
  • Belén Nieto Galán
  • Filipa Margarida da Silveira Pereira
  • Anna Stegmann: renaissance recorders.
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Descripción

Angeli, zingare & pastori

Renaissance music from Venice, Naples & Rome

The Royal Wind Music

L’huomo ben istituito non debe essere senza Musica

‘A well established man must not be without music’

(Gioseffo Zarlino, Istitutioni harmoniche, 1583)

Angeli, zingare & pastori (Angels, gypsies and shepherds) is a journey through the many characters of ensemble music in late 16th and early 17th century Italy. The title refers to three recurrent allegories found not only in music but also in literature and the visual arts. Angels are messengers and archetypical symbols of the divine and supernatural. Their voices shine through in the motets by Corfini, Agostini, Trombetti and Rossi. Arcadian shepherds represent the ideals of beauty and harmony, translated into music in the elegant dances by Alberti, Molinaro and Rossi and in the well-balanced instrumental pieces by Cavazzoni, Guami and Andrea Gabrieli. Finally, gypsies and other marginal figures show an increasing interest of the arts in aspects of human life that are often hidden or repressed. In the visual arts, these characters provided a perfect medium to challenge the traditional artistic laws – an element present in the music of composers like Ruffo, Frescobaldi or Trabaci.

Three cities

The repertoire included in this recording proceeds from three prominent musical centers: Venice, Naples and Rome. Italy was not a unified country at the time, and the political and musical circumstances of these three cities were quite different. The Republic of Venice had been a city-state since the early Middle Ages, ruled by a Doge (chief magistrate) elected for life by the aristocracy. The strategic geographical situation of the city was crucial for the extraordinary development of its maritime trade during the Middle Ages. By 1500 this commerce was already in decline, unable to compete with the European routes to the New World, but other sorts of trade flourished. For example, the city came to dominate the music publishing business. In 1501 Ottaviano Petrucci published Harmonice musices odhecaton, the first collection of printed polyphonic music. By 1550 the Venetian printing houses, among them the workshops of the Scotto and Gardane families, were publishing the works of local and foreign composers and distributing them nationally and internationally. A quick glance at the playlist reveals that many of the pieces on this recording were printed in Venice, while their composers worked and lived in more or less distant North-Italian cities like Genoa (Molinaro), Bologna (Trombetti), Lucca (Guami, Corfini), Mantua (Rossi) or Cremona (Merula).

The Kingdom of Naples developed a very distinctive musi- cal style and practice after it became a viceroyalty of Spain in 1503. The Spanish viceroys maintained a Royal Chapel in the city of Naples, that became an important symbol of power and prosperity. In 1614, when Giovanni Maria Trabaci was appointed maestro di capella, the chapel consisted of 26 singers and 12 instrumentalists. The viceroys also promoted the integration of the arts and particularly music in the education of young noblemen throughout the Kingdom. Many aristocrats became highly skilled composers, some of them as revered as Prince Carlo Gesualdo da Venosa. Gesualdo’s music was highly experimental: his extreme chromaticism remains surprising, even for contemporary ears. It reveals a taste for experimentation characteristic of the Neapolitan school that is also present in Trabaci’s music, and, in a lighter manner, in the exciting rhythms of the canzone alla napoli- tana by Donato and Lodovico Agostini.

It is almost impossible to plan a musical journey through Italy without a brief stop in Rome. At the time, the city was the capital of the Papal States, which expanded over a large portion of central Italy. The most prominent musical institutions of the city were associated with the Papacy, but many other churches also had choirs, organists and instrumentalists at their service. The nobility and the high ranks of the church employed musicians or protected them through patronage. The many possibilities the city offered to professional musicians attracted figures like the Ferrarese composer Girolamo Frescobaldi, who spent many years in Rome enjoying the patronage of powerful families like cardinal Pietro Aldobrandini’s and participating in the musical life of the city through regular employment as an organist but also teaching privately, performing in aristocratic circles and taking up extra work at various churches in special occasions.

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Información adicional

Artista

The Royal Wind Music

Estilo

Renacimiento

Interpretación

Flutes, Instrumental

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