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Flores, Roset, Alarcón: Sigismondo d’India – Lamenti & Sospiri (24/96 FLAC)

Flores, Roset, Alarcón: Sigismondo d’India - Lamenti & Sospiri (24/96 FLAC)

Flores, Roset, Alarcón: Sigismondo d’India – Lamenti & Sospiri (24/96 FLAC)

Composer: Sigismondo d’India, Giovanni Maria Trabaci
Performer: Julie Roset, Mariana Flores, Cappella Mediterranea
Conductor: Leonardo García Alarcón
Number of Discs: 2
Format: FLAC (tracks)
Label: Ricercar
Release: 2021
Size: 1.54 GB
Recovery: +3%
Scan: yes

CD 01
01. India: Ardo, lassa, o non ardo?
02. India: Piangono al pianger mio
03. India: Mercè! grido piangendo
04. India: Chi nudrisce tua speme, cor mio?
05. India: Io viddi in terra angelici costumi
06. India: Voi Ch’ascoltate
07. India: Dialogo della rosa
08. India: Or che il ciel e la terra
09. Trabaci: Canzona cromatica
10. India: Lamento d’Olimpia

CD 02
01. India: Torna il sereno Zefiro
02. India: Odi quel Rosignolo
03. India: Mentre che’l cor
04. India: Pallidetta qual viola
05. India: La tra’l sangue e le morti egro giacente
06. India: Sprezzami bionda e fuggimi
07. India: Infelice Didone
08. India: Su su prendi la cetra
09. India: Un di soletto

‘Sigismondo d’India has a “twin”, a “mirror” in music: Claudio Monteverdi. Both men developed, in parallel, a style that radically changed the history of music. A style inherited from composers such as Luca Marenzio and Carlo Gesualdo, but which d’India and Monteverdi were to transform through the creation of new techniques, theorised by the latter in 1638 under the name seconda pratica, which consisted in breaking the rules of counterpoint in order to express heightened emotion. This is why I like to call Sigismondo d’India’s style “mannerist” – not in the sense of “mannered” as it is sometimes misinterpreted – so as to underline the crucial role played by composers like d’India and Monteverdi in effecting the transition between Renaissance and Baroque. Like the disegno artists of that period, who exaggerated the gesture and form of the Renaissance figure, like Michelangelo Buonarroti in his Sistine Chapel, Sigismondo d’India brings us back to a language, the fruit of the sophisticated reworking of a heritage.’

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