Performer: Concerto Scirocco
Conductor: Giulia Genini
Format: FLAC (tracks)
Label: Arcana
Catalogue: A565
Release: 2024
Size: 1.29 GB
Recovery: +3%
Scan: yes
01. Merula: Il secondo libro delle canzoni da suonare, Op. 9: No. 11, Canzon Undecima detta “La Fontana”
02. Scheidt: Ludi musici I: No. 29, Canzon XXIX super Cantionem Gallicam a 5, SSWV 67
03. Terzi: Il secondo libro de intavolatura di liuto: No. 19, Contrapunto sopra “Liquide perle” per sonare insieme
04. Böddecker: Sacra partitura: No. 14, Sonata sopra “La Monica”
05. Merula: Il quarto libro delle canzoni da suonare, Op. 17: No. 18, Canzon Decima Ottava “La Cavagliera”
06. Uccellini: Sinfonie Boscarecie, Op. 8: No. 34, Symphonia Trigesima Quarta “A gran battaglia”
07. Bargnani: Il secondo libro delle canzoni da suonare a quatro, cinque, et otto voci: Canzon Decima Sesta sopra “La Monica”
08. Rossi: Il terzo libro de varie sonate, sinfonie, etc., Op. 12: No. 1, Sonata Prima detta “La Moderna”
09. Cavalli: Musiche Sacre: No. 23, Canzon à 3
10. Ferro: Sonate a due, tre & quatro, Op. 1: Sonata Quinta à tre
11. Uccellini: Sonate, correnti et arie, Op. 4: No. 13, Aria Decima Terza sopra “Questa bella sirena”
12. Marini: Canzon Decima a 6, Op. 8 No. 55
13. Falconieri: Fantasia detta “La Portia”
14. Rossi: Varie sonate, Libro 3, Op. 12: No. 4, Sonata quarta sopra l’Aria di Ruggiero
15. Cazzati: Trattenimenti per camera, Op. 22: No. 9, Ballo delle Ombre
16. Schmelzer: Serenada in Mascara: No. 3, Ciaccona
“Just as the worthy and skilled painter imitates all things created in nature by varying the colours, in the same way you can imitate the expression made by the human voice on a wind and stringed instrument”. This concept, which was explained by Silvestro Ganassi in his Opera intitulata La Fontegara already in 1535, has inspired Concerto Scirocco to seekthe maximum expression when interpreting the instrumental music of the 16th and 17th centuries. Hand in hand with the development of the instrumental repertoire, rhetoric became the link between instrument and voice, between imitation and reality. Where words were lacking, composers and instrumentalists used rhetoric to delight listeners just as singers did.
Inthis, itsfifth, recording, Concerto Scirocco focuses on an early baroque anthology of pieces, “painting in notes” a number of musical portraits full of contrasts:the pulsating rhythm of the battle in theSymphonia “Agranbattaglia”,thebeguilingmermaids in Marco Uccellini’sAria sopra”Questa bella Sirena”,or the operatic tension in theSonata atreby Francesco Cavalli.