CARLO GESUALDO Primo Libro di Madrigali Ferrara, 1594
GCD 922811
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La Compagnia del Madrigale: Rossana Bertini, soprano Francesca Cassinari, soprano Elena Carzaniga, alto Giuseppe Maletto, tenor Raffaele Giordani, tenor Matteo Bellotto, bass Daniele Carnovich, bass [tracks 1, 2, 3, 17] with the collaboration of the ensemble La Chimera [track 16] —
Production details
Recorded in Roletto (Chiesa della B. V. Maria del Monte Carmelo al Colletto, and in Cumiana (Confraternita dei Santi Rocco e Sebastiano), Italy, in 2019 Engineered by Giuseppe Maletto Produced by La Compagnia del MadrigaleBooklet in English - Français - Deutsch - Italiano
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CARLO GESUALDOPrimo Libro di MadrigaliFerrara, 1594 01 Baci soavi e cari 02 Madonna, io ben vorrei 03 Com’esser può ch’io viva se m’uccidi 04 Gelo ha madonna il seno 05 Mentre madonna il lasso fianco posa 06 Se da sì nobil mano 07 Sì gioioso mi fanno i dolor miei 08 O dolce mio martire 09 Tirsi morir volea 10 Mentre, mia stella, miri 11 Non mirar, non mirare 12 Questi leggiadri odorosetti fiori 13 Felice primavera 14 Son sì belle le rose 15 Bell’angioletta dalle vaghe piume
additional tracks: Carlo Gesualdo 16 Gagliarda del Principe di Venosa (instr.) 17 Canzonetta – Come vivi cor mio 18 Canzonetta – All’ombra degli allori –
About this album
The only surviving version of Carlo Gesualdo’s First Book of Madrigals was printed in Spring 1594 by the typographer Vincenzo Baldini. At the time, the composer was twenty-eight years old and had just left behind the murder of his wife, in 1590. In this first publication Gesualdo probably collected pieces composed earlier than 1591. The music is written by a young author, far away from the better-known experimental composer of later years, yet is clear and faultless, and often very effective. With this album, the members of La Compagnia del Madrigale complete the project which was initiated more than 20 years ago, by then under the name of La Venexiana: the recording of all six books of madrigals of Gesualdo, Prince of Venosa, for Glossa. Thanks to their deep knowledge of the music and the poetry of the time, their beautiful voices and precise tuning, and their exquisite mastery in expressing the affetti contained in these pieces, they have definitely set a reference for this demanding repertoire.