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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Commercial release sheet (PDF)
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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
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Pocas veces a lo largo de la Historia las «nuevas músicas» tuvieron la frescura y valentía que mostraban a principios del siglo XVII. En 1602, Giulio Caccini propone en su publicación programática Le Nuove Musiche una nueva relación entre música y texto, resumida en el término sprezzatura, según el cual el texto pasa a un primer plano. En combinación con el recién surgido bajo continuo, Caccini sembró así las bases para el fulgurante desarrollo de los géneros vocales en los siguientes siglos.
Esta grabación muestra diversas facetas del nuevo arte vocal, comenzando con obras del propio Caccini, pasando por creadores de estilo como Girolamo Frescobaldi o los milagros madrigalísticos de Sigismondo d’India, hasta llegar a las arrebatadoras piezas del poeta y compositor Benedetto Ferrari, activo en Viena ya mediado el siglo XVII.
Rosa Domínguez interpreta estas obras desde el texto, dando cuerpo con gran fervor al «yo» de las creaciones poéticas, en general víctima de sufrimientos amorosos. Las numerosas estrofas de estas canciones, arropadas por un bajo continuo extremadamente flexible e imaginativo, permiten el relato de historias completas. La utilización de medios reducidos (dos instrumentos de cuerda pulsada) permite el pleno despliegue de la expresividad vocal, creando así nuevos espacios musicales en la línea de lo imaginado por Caccini y su «nueva música».
It is not only discerning music lovers around the globe who are giving a warm welcome to the recordings which are being published on Glossa; critical approval in the specialist media has been joining in as well. One example of the latter is the newly-instigated International Classical Music Awards (ICMA) which, for its inaugural 2011 edition, has chosen no less than nine of Glossa’s recent releases in its initial nominations. [read more...]
There could be no neater way of expressing how the educational aims of the Schola Cantorum Basiliensis can be realized today than the recent recording on Glossa of The Passions by William Hayes, with a member of the faculty in Anthony Rooley conducting choral and orchestral forces drawn from the Schola and with soloists who have been students there (or who also teach there like Evelyn Tubb). [read more...]
Central to the research into and the performance of early music since the beginnings of the renewed interest into music from previous centuries the Schola Cantorum Basiliensis (SCB) remains an extraordinary powerhouse of talent ranging over music from the early Middle Ages through to the 19th century. Today its pupils are legion, as too are its teachers, amply fulfilling the aspirations of Paul Sacher when he founded the institution in Switzerland in 1933. In an agreement recently made between Glossa and the SCB fresh new life is being breathed into the desire to bring the fruits of all this musical activity to a much wider worldwide audience through recordings. [read more...]