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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Commercial release sheet (PDF)
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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.
At Glossa we are very proud to salute the musical talents of our artists, whose splendid recordings ended 2008 receiving further critical approval, important echoes of how other music-lovers have been reacting across the year. Back in September 2008 Claudio Cavina of La Venexiana received its second Gramophone Award in London when their recording of Montervedi's L'Orfeo was voted by the UK magazine's critics as the winner in the Baroque Vocal category. [read more...]
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...]
“I really do not think that there is one composer who can be rightly compared to this genius.”
In completing their masterful Monteverdi Edition, Claudio Cavina and La Venexiana have returned to the beginning – to the Madrigali a cinque voci… Libro primo – of Monteverdi’s exploration of the madrigalian art form, a journey which was to occupy the composer for more than 50 years of his life across his staying in the cities of Cremona, Mantua and Venice. In this First Book, published in 1587 when the composer was barely 20 years old yet demonstrably showing clear evidence of his approaching maturity, La Venexiana’s performances are again faithful to Monteverdi’s passion for the written word – above all to the weight theme of love. In this final release in the Monteverdi Edition Cavina adds a twist in the tail by including on this new CD the madrigals from the posthumous Libro Nono put together by the composer’s Venetian publisher. With the rerelease of La Venexiana’s recording of Il Terzo Libro (complete with a new essay penned by Stefano Russomanno), eight volumes now comprise Glossa’s Monteverdi Edition, all available within the attractively and imaginatively unified design style which has become the hallmark of the label. [read more...]