Vergine bella

Madrigali da sonar

Arianna Savall (Soprano)
Il Desiderio (Traverse flute ensemble)
Thomas Kügler (Traverse flute)
Ildikó Kertész (Traverse flute)
Marcello Gatti (Traverse flute)
Ursula Thelen (Traverse flute)
Sarah van Cornewal (Traverse flute)
Frauke Hess (Bass viol)
Frauke Hess (Lirone)
Marie Bournisien (Harp)
André Henrich (Lute)

Contents:

Vestiva i colli   Giovanni Pierluigi da Palestrina (c.1525-1594)
Vestiva i colli   Bartolomé de Selma y Salaverde (c.1580-c.1638)
Non è ch'il duol mi scemi   Giovanni Bassano (c.1558-1617)
Dormendo un giorno   Vincenzo Ruffo (c.1508-1587)
O felici occhi miei   Vincenzo Ruffo (c.1508-1587)
O felici occhi miei   Jacques Arcadelt (1505-1568)
O felici occhi miei   Diego Ortiz (c.1510-c.1570)
Io son ferito   Giovanni Pierluigi da Palestrina (c.1525-1594)
El pietoso   Vincenzo Ruffo (c.1508-1587)
El travagliato   Vincenzo Ruffo (c.1508-1587)
Pass'e mezzo antico   Giorgio Mainiero (c.1535-1582)
Saltarello   Giorgio Mainiero (c.1535-1582)
Anchor che col partire   Girolamo dalla Casa
Anchor che col partire   Richardo Rogniono
Ricercata prima   Giovanni Bassano (c.1558-1617)
Anchor che col partire   Cipriano de Rore (c.1515-1565)
Sonata per Cornetto over Violino in d   Giovanni Paolo Cima (1570-1622)
Vergine bella   Cipriano de Rore (c.1515-1565)
Vergine bella   Vincenzo Ruffo (c.1508-1587)

Playing time: 1:10 (h:m)
Booklet: 32p., English Deutsch Français
Order Nr. AE 10146
EAN 4026798101466
Product category: SACD
Release date: 17/03/2008

Price:

Audio samples:

O felici occhi miei

Saltarello

Sonata a Canto e basso

Reviews:

Introduction:

With this new recording, we undertake a journey to an epoch of music-historical upheaval in which vocal music served as the model for instrumental music, or rather the natural human voice as the model for the artificial instrument. Whereas the debut project “Joyssance vous donneray” of Il Desiderio (with Arianna Savall, soprano, and a Renaissance flute consort with Tomas Kugler, among others) was dedicated to French chansons and their arrangements and parodies, „Vergine bella" places the Italian repertoire in the limelight, with its polyphonic madrigals of the sixteenth century (prima prattica) and the early monodic canzonas and sonatas of the seventeenth century.

Vocal traditions that (more than ever before) lastingly informed secular as well as sacred instrumental works constituted the foundation of that music, but simultaneously blazed the trail for the attainment of an independent instrumental language and style for each wind, string, keyboard, and plucked instrument.
The vocal repertoire of this epoch - the music-historical period between the “prima prattica” and “seconda prattica” (ca. 1550 to ca. 1610) - is quite diverse and deserves to be documented in a correspondingly fond manner.