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ecl1703
Wydawnictwo: Encelade
Nr katalogowy: ECL 1703
Nośnik: 1 CD
Data wydania: czerwiec 2020
EAN: 3770008056169
56,00zł
na zamówienie
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Epoka muzyczna: renesans, barok
Obszar (język): włoski
Rodzaj: motet, pieśń

Mottetti E Canzoni Virtuo

Encelade - ECL 1703
Kompozytor

Palestrina, di Lasso, Bertoli, Castello, Cima, Fontana, Marini, Riccio, Rore, Tartaglino, Valentini
Wykonawcy
The Guild of Mercenaries / Adrien Mabire
Canzon supra Susanna
Susanne un jour
Sonata Terzadecima
Canzon a sei
Sonata per violino e basso
Vestiva i colli (Diminution de Giovanni Bassano)
Sonata seconda
Motettorum, Liber 4, No. 22, Pulchra es amica mia
Motettorum, Liber 4, No. 22, Pulchra es amica mia (Diminution de Francesco Rognoni)
Sonata sestadecima a tre
Tutti i madrigali a quattro voci, No. 8, Ancor che col partire
Tutti i madrigali a quattro voci, No. 8, Ancor che col partire (Diminution de Francesco Rognoni)
Sonata per due soprani e basso
Sonata per cornetto e organo
Sonata prima
Iubilent Omnes
After the first Guilde des Mercenaires record, of music by the composer Giovanni Bassano, the plan was to record a second based around virtuoso instrumental music. Although initially there was no specific theme, I wanted to record with this team in order to get as close as possible to the sound of 17th century Italian music. I wanted to work with great virtuosos such as Jérémie, Elsa, and Jean-Luc. Violaine then joined the Guilde in order to provide a link between vocal and instrumental performance.

Right from the early stages of the project, I was convinced that we needed to record a large organ. Music in Renaissance Italy should be seen as primarily functional and, in the vast majority of cases, performed in chapel, whereas chamber music was to see its own musical language develop over the course of the 18th century. So we need to remember that the sound produced by the musicians was wide and spacious, because it had to be heard throughout the sacred building, especially in places such as San Marco in Venice or San Petronio in Bologna. Logically enough, these organs were usually accompanied by instruments capable of playing at considerable volume and, indeed, the French term “hauts instruments” (literally "high instruments”) was later to become common parlance in the musical world. Reeds and other wind instruments that genuinely can make themselves heard without having to struggle against the acoustics, and can hold their own even when the organ is playing at maximum volume, were dominant at the time. As a result of its velocity - which is the equal of the violin, only with far great sonic power - the cornett was the main instrument used in Italian music of the 1600s, and I wanted to put together a programme which would be consistent with this idea. I knew that the music we would produce with this team would be dynamic and powerful, but also totally committed. Then I looked for the right location and instrument for the Guilde to use for this recording.

We chose the appropriate layout and instrumentation for each work - having a score that does not specifically state which instruments should play the parts allows us a wide range of sounds and a great deal of freedom of choice.

I hope that this recording proves that a “large organ” can accompany instrumentalists and singers performing this 17th century Italian music, and that there is enormous potential for combining them remaining to be ex-plored. There must be no constraints as far as the registration of the organ is concerned - it is perfectly possible to make definite choices which may initially seem too imposing. Of course, this means that the team of musicians need also to be ready to produce wide, dense sounds.

Zobacz także:

  • PAS 1073
  • SIGCD 622
  • COV 92011
  • ACC 24367