ODI EUTERPE Italian monody in the early 17th century
GCD 922502 1 CD. Digipak, 56-page booklet
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Performing artists
Rosa Domínguez, mezzo-soprano Mónica Pustilnik, archlute, Renaissance guitar and organ Dolores Costoyas, theorbo and Baroque guitar
Production details
Total playing time 57:22 Recorded in Santa Giulia in Caprona (Pisa, Italy) in September 2008 Recording producer: Sigrid Lee Balance engineer: Roberto Meo Executive producers: Thomas Drescher, Carlos Céster Design: Valentín Iglesias Booklet essay: Christine Fischer English Français Deutsch Español
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ODI EUTERPE
Italian monody in the early 17th century
Giulio Caccini: Dalla porta d’oriente Giovanni Girolamo Kapsberger: Prima Toccata Giulio Caccini: Amor io parto Giovanni G. Kapsberger: Seconda Arpeggiata Alessandro Piccinini: Toccata V Girolamo Frescobaldi: Ti lascio anima mia Giulio Caccini: Odi Euterpe Sigismondo d’India: Ma che? Squallido e oscuro Sigismondo d’India: Piange Madonna Sigismondo d’India: Piangono al pianger mio Benedetto Ferrari: Voglio di vita uscir Giovanni Girolamo Kapsberger: Gagliarda Girolamo Frescobaldi: Ardo e taccio Domenico Pellegrini: Chiaccona Benedetto Ferrari: Amanti io vi so dire
About this CD
Seldom ever have ‘new musics’ demonstrated the freshness and boldness as shown at the beginning of the 17th century. In 1602 Giulio Caccini proposed, in the essay prefacing his Le Nuove Musiche, a new relationship between music and text; this could be summed up in the term sprezzatura, according to which the text moves to a primary position of importance. In combination with the emergent basso continuo, Caccini thus sowed the seed for the startling development of vocal genres in subsequent centuries.
This recording presents various facets of the new vocal art, beginning with works by Caccini himself, moving via stylish composers such as Girolamo Frescobaldi or the madrigalian miracles of Sigismondo d’India to exhilarating works by the poet-composer Benedetto Ferrari, active in Venice and Vienna in the middle of the 17th century.
Rosa Domínguez interprets these works placing special emphasis on the text, prominently and enthusiastically stressing the ‘I’ of these poetic creations, generally the victim of amorous sufferings. The plentiful stanzas of these songs, dressed by an extremely flexible and imaginative basso continuo permit the telling of complete stories. By utilizing a limited means of support (just the two plucked strings instruments), the full deployment of vocal expressivity is encouraged, bringing into existence as a result new musical spaces in the line of what was imagined by Caccini and his ‘nuove musiche’.