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O Dolcezze Amarissime | Madrigali, Ricercari and Canzoni strumentali from 17th Century, Italy
Various composers

Roberta Invernizzi | Accademia Strumentale Italiana | Alberto Rasi

O Dolcezze Amarissime | Madrigali, Ricercari and Canzoni strumentali from 17th Century, Italy

Price: € 14.95
Format: CD
Label: Fineline
UPC: 0608917241921
Catnr: FL 72419
Release date: 05 July 2024
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1 CD
€ 14.95
Preorder
 
Label
Fineline
UPC
0608917241921
Catalogue number
FL 72419
Release date
05 July 2024
Album
Artist(s)
Composer(s)
EN
DE

About the album

In the mid-16th century, counterpoint – now no longer the abstract and self-referential art of good voice leading – entered the orbit of musica poetica, the form of music in which the communicative element was emphasized: by the very imitation of the concept contained in the words, music now gained the power to lend a sensually perceivable soul to the resounding numbers, the rational component of the composition. Of course such poetically conceived music had to be vocal music; and the madrigal became the genre in which the perfect balance between ratio and sensus, between rationality and sensuality, could be struck.

Written and visual sources testify that the practice of combining vocal lines and instruments was common when performing polyphonic works. Long before the rise of accompanied monody, the practice of ‘concerted’ madrigals had translated the theoretic concept of musica poetica into practical performance formulas which did justice to the intelligibility of words and texts. The combination of a solo vocal line and accompaniment by a consort of viols seems ideal in order to render the text completely and intelligibly, while keeping the sound structure of polyphony intact at the same time.
In der Mitte des 16. Jahrhunderts trat der Kontrapunkt - nun nicht mehr die abstrakte und selbstreferentielle Kunst der guten Stimmführung - in den Orbit der musica poetica, der Musikform, in der das kommunikative Element betont wurde: Durch die Nachahmung des in den Worten enthaltenen Konzepts gewann die Musik nun die Kraft, den erklingenden Zahlen, der rationalen Komponente der Komposition, eine sinnlich wahrnehmbare Seele zu verleihen. Natürlich musste es sich bei dieser poetisch konzipierten Musik um Vokalmusik handeln, und das Madrigal wurde zu der Gattung, in der das perfekte Gleichgewicht zwischen ratio und sensus, zwischen Rationalität und Sinnlichkeit, hergestellt werden konnte.

Schriftliche und bildliche Quellen bezeugen, dass die Kombination von Vokalstimmen und Instrumenten bei der Aufführung mehrstimmiger Werke üblich war. Lange vor dem Aufkommen der begleiteten Monodie hatte die Praxis der „konzertierten“ Madrigale das theoretische Konzept der musica poetica in praktische Aufführungsformeln umgesetzt, die der Verständlichkeit von Wort und Text gerecht wurden. Die Kombination aus einer solistischen Gesangslinie und der Begleitung durch ein Gambenkonsort scheint ideal, um den Text vollständig und verständlich wiederzugeben und gleichzeitig die Klangstruktur der Polyphonie zu erhalten.

Artist(s)

Alberto Rasi (viola)

Alberto Rasi, veronese, after his studies in Double Bass and Composition, studied Viola da Gamba and Violone at the Schola Cantorum Basel with Jordi Savall, and at the Conservatoire de Génève with Ariane Maurette. Since 1978, taking advantage of his training as a Double Bass player, he began playing both the viola da gamba and violone, giving concerts and recordings with the most renowned groups. In 1981 he co-founded Accademia Strumentale Italiana with the harpischordist Patrizia Marisaldi. As soloist and with this ensemble he has given concerts throughout Europe and beyond. In 1992 he became Artistic Director of this group and he has recorded several CDs for the Stradivarius label of Milan and various others CD labels winning various prizes including: Diapason d’Or,...
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Alberto Rasi, veronese, after his studies in Double Bass and Composition, studied Viola da Gamba and Violone at the Schola Cantorum Basel with Jordi Savall, and at the Conservatoire de Génève with Ariane Maurette.

Since 1978, taking advantage of his training as a Double Bass player, he began playing both the viola da gamba and violone, giving concerts and recordings with the most renowned groups.

In 1981 he co-founded Accademia Strumentale Italiana with the harpischordist Patrizia Marisaldi.

As soloist and with this ensemble he has given concerts throughout Europe and beyond. In 1992 he became Artistic Director of this group and he has recorded several CDs for the Stradivarius label of Milan and various others CD labels winning various prizes including: Diapason d’Or, 10 de Repertoire, Musica 5 Stars, Amadeus and the Midem Classical Award 2007 in the category, Early Music.

He is currently teaching viola da gamba at the Conservatory of Verona.

In 1999 he founded the Baroque Orchestra of Verona, Il Tempio Armonico, which he conducts from the violoncello, and with which he has recorded the complete orchestral music of the veronese Evaristo Felice Dall’Abaco.


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Roberta Invernizzi (soprano)

Roberta Invernizzi has become one of the outstanding voices of Baroque music in modern times, contributing with her crystalline soprano and an unfailing dramatic sense to the rediscovery of much neglected music, from Italy in particular. Hailing from Milan, Roberta Invernizzi’s music studies initially encompassed the piano and the double bass before she took up singing under the guidance of Margaret Heyward, later specializing in both Baroque and Classical era music. Invernizzi’s talent for characterization has been superbly demonstrated across the Gramophone Award-winning series of recordings on Glossa of Handel’s chamber cantatas in Italian with Fabio Bonizzoni, through her visceral and vivid portrayals of Arcadian characters from goddesses and nymphs to shepherdesses. Her prowess there led Fabio Bonizzoni to write recitatives with...
more

Roberta Invernizzi has become one of the outstanding voices of Baroque music in modern times, contributing with her crystalline soprano and an unfailing dramatic sense to the rediscovery of much neglected music, from Italy in particular. Hailing from Milan, Roberta Invernizzi’s music studies initially encompassed the piano and the double bass before she took up singing under the guidance of Margaret Heyward, later specializing in both Baroque and Classical era music.

Invernizzi’s talent for characterization has been superbly demonstrated across the Gramophone Award-winning series of recordings on Glossa of Handel’s chamber cantatas in Italian with Fabio Bonizzoni, through her visceral and vivid portrayals of Arcadian characters from goddesses and nymphs to shepherdesses. Her prowess there led Fabio Bonizzoni to write recitatives with her in mind for his creation of a pasticcio opera in Gli strali d’Amore, with arias by André Campra. The flamboyant revival in recent years of music from the Neapolitan Baroque led by Antonio Florio and I Turchini owes much to Roberta Invernizzi’s contributions, whilst on the opera stage diverse roles in recent years have seen her perform in Handel’s Rinaldo and Agrippina, Vivaldi’s Ercole sul Termodonte and Monteverdi’s L’Orfeo and L’incoronazione di Poppea (as well as in Mozart, Grétry and Berton). Reactions from the international press have praised her singing for its “intensity and delicacy, her control of pitch and phrase production”, her “great radiance of tone” as well as frequent notes of approval for her sensitivity, refinement and subtlety.

In addition to her presence in the Handel Cantatas series (there is also a “Portrait” release, Handel in Italy) and the Campra Gli strali d’Amore, Invernizzi’s long-standing musical partnership with Fabio Bonizzoni and La Risonanza has led to a disc of both well- and lesser-known opera arias by Antonio Vivaldi with Invernizzi cast very much in the solo spotlight. Invernizzi regularly works also with other leading conductors of the music of Vivaldi such as Rinaldo Alessandrini, Alan Curtis and Fabio Biondi, among others.


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Accademia Strumentale Italiana

The Accademia Strumentale Italiana was founded in Verona with the specific purpose of recreating the atmospheres of those ancient and illustriuos academies, where the pleasure of meeting one another gave a special fl avour to making music together. Its repertoire encompasses instrumental and vocal music ranging from the Renaissance to the Baroque, performed according to strict philological canons, but without compromising its ability to comunicate with the present: its musicians are convinced that even if the score is ancient, Music is always timeless. The Accademia has performed extensively in Europe and has been invited to several international festivals where it has always met with widespread critical acclaim. The members of the Accademia are all renowned specialists in HIP and work together...
more
The Accademia Strumentale Italiana was founded in Verona with the specific purpose of recreating the atmospheres of those ancient and illustriuos academies, where the pleasure of meeting one another gave a special fl avour to making music together. Its repertoire encompasses instrumental and vocal music ranging from the Renaissance to the Baroque, performed according to strict philological canons, but without compromising its ability to comunicate with the present: its musicians are convinced that even if the score is ancient, Music is always timeless.
The Accademia has performed extensively in Europe and has been invited to several international festivals where it has always met with widespread critical acclaim. The members of the Accademia are all renowned specialists in HIP and work together with some of the most famous European ensembles.
Since 1993 the Accademia has recorded mainly for Stradivarius and DIVOX, collecting prizes and awards from the specialized press (Midem Classical Award 2007 with the CD Dolcissimo Sospiro). With the recording of Die Kunst der Fuga started a collaboration with the Dutch label Challenge Records. Alberto Rasi is the group’s musical director; the ensemble is currently composed of a consort of viols, who are joined by guest artists invited to partake in larger projects.

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Composer(s)

Press

Play album Play album
01.
Asciugate i begli occhi: Quinto libro de madrigali a 5 voci
04:03
(Gesualdo da Venosa ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
02.
Due rose fresche (1° parte)
01:44
(Luca Marenzio) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
03.
Non vede un simil par (2° parte): Quinto libro a 5
01:37
(Luca Marenzio) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
04.
Canzon Seconda a 4 Sopra Romanesca : Canzoni da sonare, Libro I
02:56
(Girolamo Frescobaldi ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
05.
Se vi duol il mio duolo : Quinto libro de madrigali a 5 voci
03:23
(Gesualdo da Venosa ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
06.
Canzon XI La Morale : Canzoni da sonare
05:58
(Gioseffo Guami) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
07.
Da quei begl’occhi : in Andrea Gabrieli, Terzo Libro a 5
01:51
(Giovanni Gabrieli ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
08.
Ah, dolente partita! : Undecimo libro a 5
02:03
(Giaches de Wert) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
09.
Donna leggiadra e bella: De floridi virtuosi d’Italia … primo libro a 5
01:35
(Giovanni Gabrieli ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
10.
Ricercare X : Il Secondo Libro de Ricercari a quattro voci
04:06
(Luzzasco Luzzaschi) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
11.
Dolcezze amarissime d’amore : Undecimo libro a 5
01:50
(Giaches de Wert) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
12.
Vago augelletto che cantando vai (1° parte)
02:34
(Giaches de Wert) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
13.
Io non so se la parti sarian pari (2° parte) : Nono libro di madrigali a 5 e a 6
01:58
(Giaches de Wert) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
14.
Canzon La Merula: Primo Libro delle Canzoni a 4 voci
03:49
(Tarquinio Merula) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
15.
La bocca onde l’asprissime parole: Secondo libro de madrigali a 5 voci
02:10
(Claudio Monteverdi) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
16.
O tenebroso giorno: Quinto libro di madrigali
02:15
(Claudio Monteverdi ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
17.
Canzone Francesa Settima cromatica Ricercate: canzone francese [...]
03:53
(Gio Maria Trabac) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
18.
Piagne e sospira: Quarto libro de madrigali a 5 voci
03:58
(Gesualdo da Venosa ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
19.
Canzon VIII La Gentile: Canzoni da sonare
02:41
(Gioseffo Guami ) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
20.
Cantai un tempo: e se fu dolce il canto, Secondo libro di madrigali
03:09
(Claudio Monteverdi) Roberta Invernizzi, Alberto Rasi, Accademia Strumentale Italiana
show all tracks

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