SECONDE STRAVAGANZE Venetian & Neapolitan music for viol consort
GCD C80010
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L’Amoroso Guido Balestracci, viola da gamba & direction Alba Fresno, Jordi Comellas, Santi Miron, violas da gamba Gioacchino de Padova, violone Loredana Gintoli, double harp Massimiliano Raschietti, organ & harpsichord Alberto Maccini, percussion
Production details
Total playing time 63:07 Recorded in Lucca (Pieve di S. Stefano), Italy, in August 1999 Engineered by Roberto Meo Produced by Sigrid Lee
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SECONDE STRAVAGANZEVenetian & Neapolitan music for viol consort
Antonio Valente (fl. 2nd half of 16th c.) 1 Lo Ballo dell’Intorcia (Tenore del paso e mezzo)
Carlo Gesualdo (1560-1613) 2 Moro, lasso Anon. Ms. Chigi - Alessandro Piccinini (1566-1638) 3 La Moniche
Giovanni Maria Trabaci (c.1575-1647) 4 Gagliarda I, La Galante
Gioanpietro Del Buono (fl. mid 17th c.) 5 Sonata vii, stravagante sull’Ave maris stella
Giovanni Legrenzi (1626-1690) 6 Sonata VI
Cherubino Waesich (?) 7 Canzone II
Salomone Rossi (1570-c.1630) 8 Sonata sopra l’Aria di Ruggiero
Giovanni Maria Trabaci 9 Gagliarda V cromatica, La Trabacina 10 Canzon VII, Cromatica
Bartolomeo Montalbano (c.1600-1651) 11 Sinfonia XI, Pianello
Bernardo Storace (fl. 2nd half of 17th c.) 12 Pastorale
Giovanni De Macque (1548?-1614) 13 Seconde Stravaganze
About this CD
Guido Balestracci’s passion for extending the repertoire of the viol consort, especially with Italian music, took flight with this 1999 recording of Seconde Stravaganze (made originally for Symphonia) and now available on Glossa Cabinet. Happy to push boundaries in an “extravagant” but well thought-through way Balestracci – with his ensemble L’Amoroso of gambas, harp, keyboard instruments and percussion – conjured up an entertainment of Venetian and Neapolitan music for viol consort. Whether these 16th and 17th century pieces (Gesualdo, Trabaci, Del Buono, Montalbano, Legrenzi, Storace et al) were originally scored for voices, organ, harpsichord or viols, Balestracci and his musicians create transformations which remain true to the first composers’ intentions, and which sound as fresh today as when they were first recorded.