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Wydawnictwo: Bis
Nr katalogowy: BISSACD 2526
Nośnik: 1 SACD
Data wydania: styczeń 2023
EAN: 7318599925264
w magazynie
Nasze kategorie wyszukiwania

Epoka muzyczna: barok
Obszar (język): włoski
Instrumenty: kornet, organy
Rodzaj: sonata, toccata

SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Fontana / Frescobaldi / Castello: Seicento Stravagante - Music for Cornetto and Keyboard

Bis - BISSACD 2526
Giovanni Battista Fontana (1571-1630)
Girolamo Frescobaldi (1583-1643)
Dario Castello (1590-1658)
Annibale Padovano, Andrea Gabrieli, Girolamo Kapsberger, Andrea Falconieri, Riccardo Rognoni, Angelo Notari, Girolamo dalla Casa, Giovanni Salvatore, Giovanni Martino Cesare, Francesco Rognoni Taeggio, Giovanni Battista Fontana, Biagio Marini
Seicento Stravagante:
David Brutti, cornetto
Nicola Lamon, organ, harpsichord
Nagrody i rekomendacje
Music Island Recommends
Giovanni Battista Fontana:
Sonata Terza
Sonata Seconda

Girolamo Frescobaldi:
Canzon Terza detta La Lucchesina

Annibale Padovano:
Toccata del Sesto Tono

Dario Castello:
Sonata prima

Andrea Gabrieli:
Canzon francese detta Qui la dira

Girolamo Kapsberger:
Sinfonia 13Andrea

La Monarca

Riccardo Rognoni:
Ung gay Berger

Angelo Notari:
Ahi, che s’acresce in me Anonymous:
Canzona su partimento

Girolamo dalla Casa:
Susanne un jour

Giovanni Salvatore:
Toccata seconda del nono tono

Giovanni Martino Cesare:
La Foccarina

Francesco Rognoni Taeggio:
Pulchra es, amica mea

Biagio Marini:
Sonata per organo e violino o cornetto
How to express emotion through music from which words are absent? This album attempts to give an answer to this question. Through works by Italian composers from the late 16th and early 17th centuries, the two members of Seicento Stravagante, David Brutti and Nicola Lamon, demonstrate the extravagant styles of early baroque music. During the decades surrounding 1600, the dominance of the human voice and of texts came to be replaced by the unfettered imagination of the composer/instrumentalists that allowed instruments to ‘speak’ on their own, and not only support a sung text.

At first the polyphony of the original vocal piece was simply supplemented with ornaments to compensate for the lack of text, but later, as the borders between vocal and instrumental music became quite fluid, the vocal lines would be transformed into virtuoso instrumental solos. By the third decade of the seventeenth century, composers and performers were developing a new and independent instrumental style, which allowed them to freely mix intricate polyphony, dance-like passages and emotionally charged musical phrases. Brutti perform this selection of works, published between 1584 and 1650, on three different types of cornetto, while Lamon alternates between a copy of a harpsichord from 1681 and no less than two historic organs, from 1578 and 1660 respectively.

Recording: 14th 17th November 2019 at the Chiesa Parrocchiale di Monte San Giovanni. Instrumentarium: Straight Cornetto by A. Inghisciano 2019; Curved Cornetto by P, Fanciullacci 2018; Mute Cornetto by A. Inghisciano 2019; Organ by P. Cipri c. 1578.

Zobacz także:

  • ACC 24253
  • AUDITE 97797
  • PAS 1120
  • CHR 77466
  • KTC 1787
  • CRC 3901
  • KTC 9012
  • PN 2203
  • GEN 22793
  • HC 22073