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Sophie Yates - Il Cembalo Transalpino: Music from the Fitzwilliam Collection (2019)

Posted By: ArlegZ
Sophie Yates - Il Cembalo Transalpino: Music from the Fitzwilliam Collection (2019)

Sophie Yates - Il Cembalo Transalpino: Music from the Fitzwilliam Collection (2019)
EAC | FLAC | Image (Cue & Log) ~ 404 Mb | Total time: 65:16 | Scans included
Classical | Label: Chandos | # CHAN 0819 | Recorded: 2017

All the music in this programme comes from the Fitzwilliam Museum, Cambridge, and most of it was collected by its founder, Richard, Seventh Viscount Fitzwilliam of Merrion (1745 – 1816). A polymath, lover of music, amateur composer and harpsichordist, musically active from about 1760 until his death, Fitzwilliam created a legacy of exceptional importance to English musical culture.

Raphael Pichon, Pygmalion - Stravaganza d'Amore! (2017)

Posted By: ArlegZ
Raphael Pichon, Pygmalion - Stravaganza d'Amore! (2017)

Raphaël Pichon, Pygmalion - Stravaganza d'Amore! - La nascita dell'opera alla corte dei Medici (2017)
EAC | FLAC | Image (Cue & Log) ~ 548 Mb | Total time: 102:38 | Scans included
Classical | Label: Harmonia Mundi | # HMM90228687 | Recorded: 2016

Late sixteenth-century Florence was a theatre: first and foremost a political one, in the eyes of the dynasties that wished to use the arts to display their power. A humanist one too, as is shown by these intermedi (interludes) that sought to achieve the perfect blend between music and poetry, the ideal of a certain Renaissance. Inserted into plays imitating the ancient writers, these entertainments were presented with lavish visual and musical resources. After reaching an initial peak in 1589 with the intermedi composed for Bargagli’s La pellegrina, this tradition was prolonged in the burgeoning genre of opera by such composers as Peri, Caccini (Euridice, 1600) and, very soon, Monteverdi (L’Orfeo) and Gagliano (Dafne).

Geoffroy Jourdain, Les Cris de Paris - Melancholia: Madrigals and motets around 1600 (2018)

Posted By: ArlegZ
Geoffroy Jourdain, Les Cris de Paris - Melancholia: Madrigals and motets around 1600 (2018)

Geoffroy Jourdain, Les Cris de Paris - Melancholia: Madrigals and motets around 1600 (2018)
EAC | FLAC | Image (Cue & Log) ~ 299 Mb | Total time: 67:11 | Scans included
Classical | Label: Harmonia Mundi | # HMM902298 | Recorded: 2017

Melancholic poetry provided endless nourishment for musical creativity in the late Renaissance. In his first recording for harmonia mundi, Geoffroy Jourdain leads Les Cris de Paris in music from the cusp of the sixteenth and seventeenth centuries. From Bryd to Gesualdo, Italian and English madrigals rub shoulders with motets and Tenebrae responsories, finding pleasure even in meditating on what causes one's pain.

Erik Van Nevel, Currende - Luca Marenzio: Cantiones Sacrae (2000)

Posted By: ArlegZ
Erik Van Nevel, Currende - Luca Marenzio: Cantiones Sacrae (2000)

Erik Van Nevel, Currende - Luca Marenzio: Cantiones Sacrae (2000)
EAC | FLAC | Image (Cue & Log) ~ 273 Mb | Total time: 62:25 | Scans included
Classical | Label: Eufoda | # EUFODA 1313 | Recorded: 2000

Luca Marenzio was one of the most renowned composers of madrigals, and wrote perhaps the finest examples of the form in its late stage of development, prior to its early Baroque transformation by Monteverdi. While Marenzio wrote some sacred music in the form of motets, and madrigali spirituali (madrigals based on religious texts), the vast majority of his work, and his enduring legacy, is his enormous output of madrigals. They vary in style, technique and tone through the two decades of his composing career.

Paul van Nevel, Huelgas Ensemble - The Ear of Theodoor van Loon: Il Primo Caravaggisto Fiammingo (2018)

Posted By: ArlegZ
Paul van Nevel, Huelgas Ensemble - The Ear of Theodoor van Loon: Il Primo Caravaggisto Fiammingo (2018)

Paul van Nevel, Huelgas Ensemble - The Ear of Theodoor van Loon: Il Primo Caravaggisto Fiammingo (2018)
EAC | FLAC | Image (Cue & Log) ~ 332 Mb | Total time: 66:39 | Scans included
Classical | Label: Cypres | # CYP1679 | Recorded: 2018

The series ‘L’Oreille de…’ from Cypres and the Huelgas Ensemble, that began with "L’Oreille de Zurbarán" and "L’héritage de Petrus Alamire,” juxtaposes the music of a particular period and the creative world of a contemporaneous painter, scribe or explorer. What might he have listened to if he had had a transistor radio, a hifi system or the possibility of streaming on a computer? In conjunction with the exhibition: "Theodoor van Loon, a caravaggist between Rome and Brussels" in BOZAR Brussel, this album introduces the first Southern Netherlands Caravaggist between Rome and Brussels through the music of the seventeenth century. Paul Van Nevel has selected some emblematic pieces played in Italy, where van Loon used to live between 1602 and 1608, and in the musical chapel of Albert and Isabelle.

Walter Testolin, RossoPorpora - Luca Marenzio: L'Amoroso & Crudo Stile (2018)

Posted By: ArlegZ
Walter Testolin, RossoPorpora - Luca Marenzio: L'Amoroso & Crudo Stile (2018)

Walter Testolin, RossoPorpora - Luca Marenzio: L'Amoroso & Crudo Stile (2018)
EAC | FLAC | Image (Cue & Log) ~ 325 Mb | Total time: 79:30 | Scans included
Classical | Label: Arcana | # A449 | Recorded: 2015

Luca Marenzio was the most brilliant representative of the sublime art of the madrigal during the last twenty years of the sixteenth century. Whereas the style of his early works is light, fluid and transparent, in his maturity Marenzio’s language turned towards a more complex, introspective attitude that made him the most emblematic musical exponent of Late Renaissance melancholy. L’amoroso & crudo stile brings together some of Marenzio’s finest madrigals, aiming to reproduce the most intimate expressive facets of a music of extraordinary beauty and profound humanity. With the emotional intensity and deep respect for the poetic text that distinguishes the ensemble, RossoPorpora begins in this debut recording its personal exploration and celebration of the madrigal, the earliest and still unsurpassed representation of Italian musical identity.

Skip Sempé, Capriccio Stravagante Renaissance Orchestra, Collegium Vocale Gent ‎- La Pellegrina, Intermedii 1589 (2007)

Posted By: ArlegZ
Skip Sempé, Capriccio Stravagante Renaissance Orchestra, Collegium Vocale Gent ‎- La Pellegrina, Intermedii 1589 (2007)

Skip Sempé, Capriccio Stravagante Renaissance Orchestra, Collegium Vocale Gent ‎- La Pellegrina, Intermedii 1589 (2007)
XLD | FLAC | Image (Cue & Log) ~ 405 Mb | Total time: 69:10 | Scans included
Classical | Label: Paradizo | # PA 0004 | Recorded: 2007

Florence, 19th October 1587: Francesco de Medici, Grand Duke of Tuscany dies with his wife under suspicious circumstances. His brother Ferdinando inherits the title, leaves the monkhood for worldly aspirations including finding a wife. On 2nd May 1589, he married Christine of Lorraine, granddaughter of Catherine de Medici, mother of the King of France. As was the custom at European courts, the wedding was accompanied with splendid festivities, each one outshining the last, to convey the image of the new monarchy.

Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali (2001)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali (2001)

Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali (2001)
EAC | FLAC | Image (Cue & Log) ~ 318 Mb | Total time: 73:41 | Scans included
Classical | Label: Opus 111/Naïve | # OP 30245 | Recorded: 2000

If you want a good idea of why Luca Marenzio (1553-99) was considered madrigalist during the late-16th century, the music and performances on this fine recording will provide a good starting place. The richly colorful vocal writing–and equally colorful texts!–are ideally illustrated by the tightly focused intonation, reedy timbre, and knowing inflections of the Concerto Italiano’s seven singers. Sampling from Marenzio’s five- and six-part madrigals, the ensemble avoids any temptation to over-state the music’s case with exaggerated accents or heavy-handed phrasing and dynamics (a common fault of less-competent groups). Instead, they trust the composer’s keen sense of text-setting and allow expressive effects to arise naturally from the score.

La Venexiana - L'arte del madrigale: de Wert, Marenzio, Luzzaschi, Gesualdo, d'India [9CDs] (2016)

Posted By: ArlegZ
La Venexiana - L'arte del madrigale: de Wert, Marenzio, Luzzaschi, Gesualdo, d'India [9CDs] (2016)

La Venexiana - L'arte del madrigale: Giaches de Wert, Luca Marenzio, Luzzasco Luzzaschi, Carlo Gesualdo, Sigismondo d'India [9CDs] (2016)
EAC | FLAC | Image (Cue & Log) ~ 2.13 Gb | Total time: 07:56:39 | Scans included
Classical | Label: Glossa | # GCD 920920 | Recorded: 1997-2009

Over the years Glossa has been at the forefront of releasing recordings of late Renaissance madrigals, and the label has had the pleasure of assisting superlative artists in doing so: none more so than the voices of La Venexiana and its director Claudio Cavina. This release is a reflection of such creative richness. The recordings on this release date from the dozen years after La Venexianas foundation in 1996, a time of great activity for the ensemble, and which complements the Monteverdi Complete Madrigals Books set, released previously. These two impressive collections demonstrate effectively why La Venexiana has been so popular with audiences and why it has been praised by critics as well.

Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali a quattro voci, Libro Primo 1585 (1994)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali a quattro voci, Libro Primo 1585 (1994)

Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali a quattro voci, Libro Primo 1585 (1994)
EAC | FLAC | Image (Cue & Log) ~ 270 Mb | Total time: 62:07 | Scans included
Classical | Label: Opus 111 ‎| OPS 2-117 | Recorded: 1994

Italian Renaissance composer Luca Marenzio was internationally recognized as the leading composer of madrigals at the height of his career, in the last two decades of the sixteenth century. He was so popular (and the sales of his music so lucrative) that within years of his death, both Flemish and German publishers had issued volumes of his complete five and six part madrigals, an honor almost unheard of at the time. Marenzio's madrigals, while anticipating the songlike lyricism of monody that would come to dominate vocal music of the early Baroque, made full use of the textural and expressive qualities of Renaissance polyphony.