CLAUDIO MONTEVERDI Quarto Libro dei Madrigali
La Venexiana Claudio Cavina
GCD 920924
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Performing artists
La VenexianaClaudio Cavina, director
Rossana Bertini, soprano Nadia Ragni, soprano Claudio Cavina, countertenor Giuseppe Maletto, tenor Sandro Naglia, tenor Daniele Carnovich, bass
Production details
Playing time: 61’10 Recorded in Roletto, Italy, in November 2003 Engineered by Davide Ficco Produced by Sigrid Lee & 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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CLAUDIO MONTEVERDI (1567-1643)
Quarto Libro dei Madrigali, 1603
01 Ah, dolente partita 02 Cor mio, mentre vi miro 03 Cor mio, non mori? E mori! 04 Sfogava con le stelle 05 Volgea l’anima mia soavemente 06 Anima mia, perdona 07 Che se tu sei il cor mio 08 Luci serene e chiare 09 La piaga c’ho nel core 10 Voi pur da me partite 11 A un giro sol 12 Ohimè, se tanto amate 13 Io mi son giovinetta 14 Quell’augellin che canta 15 Non più guerra, pietate 16 Sì, ch’io vorrei morire 17 Anima dolorosa 18 Anima del cor mio 19 Longe da te, cor mio20 Piagne e sospira
About this CD
Nowadays, to speak about the Italian madrigal is to speak about La Venexiana. It also means, of course, speaking of Monteverdi. What better combination then, than La Venexiana singing madrigals by Monteverdi? Assuming our responsibility as a specialized label, we have decided to create a new collection, the Monteverdi Edition, in which we will present the complete madrigalsof the composer from Cremona in 2-3 annual volumes.
Mantua and Ferrara, the two poles between which the Fourth Book, inaugural disc of this collection, travels, are also emblematic of two distinct yet complementary identities: not geographical alone, but lifestyles and ways of questioning the reality of feelings as well. As never before, the result of Monteverdi’s madrigals is an agile dialectic of metamorphosing gestures, techniques, forms and colours. In this musical journey between Mantua and Ferrara, the equilibrium sought is not static. Rather, it is subject to constant variation and recomposing.
A little farther on, monody and the basso continuo await the composer. By the Fifth Book (1605) Monteverdi will allude to these technique more explicitly, clearing the path for radical changes that will definitively alter the madrigal and project the genre into the sphere of the new Baroque sensibility.