CLAUDIO MONTEVERDI Settimo Libro dei Madrigali
La Venexiana Claudio Cavina
GCD 920927 (2 CDs)
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Performing artists
La VenexianaClaudio Cavina, director
Rossana Bertini, soprano Elena Cecchi Fedi, soprano Nadia Ragni, soprano Gloria Banditelli, alto Claudio Cavina, countertenor Giuseppe Maletto, tenor Sandro Naglia, tenor Daniele Carnovich, bass Paul Beier, theorbo Franco Pavan, theorbo Fabio Bonizzoni, harpsichord plus 12 more instrumentalists
Production details
Playing time: 65’27 + 70’47 in February and September 1998 Engineered by Davide Ficco Produced by La Venexiana Executive producer: Carlos Céster Editorial assistant: María Díaz Art direction & design: oficina tresminutos 00:03:00 Booklet essay: Stefano Russomanno Booklet in English-Français-Deutsch-Español-Italiano
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Commercial release sheet (PDF)
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CLAUDIO MONTEVERDI (1567-1643)
Concerto. Settimo Libro dei Madrigali, 1619
CD I 1 Symphonia - Tempro la Cetra 2 Ohimè, dov’è il mio ben 3 Ah, che non si conviene 4 Vaga su spina ascosa 5 Se i languidi miei sguardi 6 Chiome d’oro 7 Interrotte speranze 8 Tu dormi? 9 Ecco vicine, o bella Tigre 10 Non è di gentil core 11 Eccomi pronta ai baci 12 Soave libertate 13 Vorrei baciarti 14 Se’l vostro cor15 A quest’olmo
CD II 1 Con che soavità 2 Parlo, miser, o taccio? 3 Perché fuggi tra salci 4 Augellin 5 O come sei gentile 6 Se pur destina7 Amor che deggio far 8 Non vedrò mai le stelle 9 Io son pur vezzosetta 10 Al lume delle stelle 11 Tornate, o cari baci 12 O viva fiamma13 Dice la mia belissima Licori14 Tirsi e Clori. Ballo
About this CD
In 1619 Monteverdi dedicated his Seventh Book of Madrigals to Catherine de’ Medici, Duchess of Mantua. He chooses a title which in itself is a declaration of intentions: Concerto. The concerto’s dimension implies a certain diversity, and in this sense the Seventh Book marks a turning-point. The new publication renounces the classic five-voice setting (that had monopolized the first six books) in favour of a very ample formal variety: madrigals for one, two, three, four and six voices are found side by side with “other song genres”, as the composer specifies on the frontispiece. In its extreme variety of accents, forms and settings (for the first time the instruments have a prominent role and are not limited to that of continuo), the Seventh Book forms a kind of imaginary theatre: stories which unfold and disappear, fragments of idylls, tragedies and even comedies, but of whose protagonists, temporal and spatial setting we are totally unaware.
Glossa retrieves for its Monteverdi Edition a recording from 1998, which marked the beginning of the love affair between La Venexiana and the great Claudio. In this carefully revised edition with new texts, translations, and design, listeners and readers will find an inexhaustible fountain of pleasure through a delightful musical and poetic journey to early 17th-century Venice.
En Glossa estamos muy orgullosos de poder aplaudir, una vez más, el talento musical de nuestros artistas, cuyas espléndidas grabaciones recibieron en 2008 un especial apoyo por parte de la crítica internacional, que no es sino el reflejo palpable de las reacciones de otros muchos amantes del sello. En septiembre de 2008, Claudio Cavina de La Venexiana recibió su segundo Gramophone Award en Londres, cuando su grabación de L’Orfeo de Monteverdi fue premiado con el galardón a la mejor grabación vocal barroca. [leer más...]
Not for the first time in their illustrious career, Claudio Cavina and his Italian vocal and instrumental ensemble La Venexiana have just received a strong critical vote of approval for their artistry, with the announcement on Thursday September 25th that they have won a coveted Classic fM Gramophone Award. Claudio Cavina was on hand to collect the Baroque Vocal Award for 2008 (decided on by the specialist critics of the UK-based Gramophone magazine) at a ceremony held in London, UK for his and La Venexiana’s recording of the fabula in musica by Claudio Monteverdi, L’Orfeo.[read more...]