Italian Lute Songs

8,9929,99

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SKU: 4092 Category:

Tracklist

1.
Madonna, il tuo bel viso
00:00
2.
Con l'angelico riso
00:00
3.
Se mai provasti, donna, qual sia Amore
00:00
4.
Ricercar
00:00
5.
Donna, che sete tra belle bella
00:00
6.
Ben che'l misero cor
01:08
7.
Fuggi, fuggi, cor mio
00:00
8.
Ricercar
00:00
9.
Ricercar
00:00
10.
Ricercar
00:00
11.
Zefiro torno
00:00
12.
Poichè l mio largo pianto
00:00
13.
Chi mi sente cantar
00:00
14.
Qual fattura
00:00
15.
Il Medesimo
01:25
16.
Mentre donna real nobil e bella
00:00
17.
Praeludium
01:03
18.
Courante
01:05
19.
Cruda Amarilli
01:37
20.
Io son nel duol si vinto
01:34
21.
Cara mia cetra
01:05
22.
Internite voi, lagrime mie
01:44
23.
Toccata XXIV
00:00
24.
A miei pianti
01:40
25.
Arie di Romenesca
00:00
26.
Se l' aura spira
00:00
27.
O mio cor
01:50
28.
Cosi me desprezzate?
00:00

Description

Lute songs and musical practice: the madrigal and monody The song for lute and vocalist was enormously popular in the sixteenth century. They were initially arranged from multi-voiced compositions with the singer performing the highest voice. The lutanist tried to reproduce all the other voices (as far as this was possible), adding ornamentation according to his own taste in order to give more body to the sound of the instrument. This practice was so successful that even well-known composers made arrangements. In 1536 for exam-ple, Adrian Willaert arranged twenty-two madrigals by Philippe Verdelot for lute and voice. In 1530 the term “madrigal” was first used for a composition by Verdelot. Within a short time this new musical genre spread throughout Italian territories. The madrigal was developed in reaction to other types of multi-voiced songs like the frottola. Its most significant innovations were the use of serious texts that were chosen, its free form and polyphonic texture. There is a strong tendency in Verdelot’s madrigals towards vertical harmonic structures, but they may also have an imitative character. The texture of most madrigals lies somewhere between these two extremes, a mixed form described by musicologist Alfred Einstein as “polyphonically animated homophony”. Although most composers at the time preferred the texts of Petrarch, Verdelot made grateful use of the works of his contemporaries, for example Martelli: “Donna che sette tra belle bella” and “Con l’Angelico riso”….

Additional information

Artists

,

Recording date

June 1991

Mastering equiment

Sony digital Editor 3000

Mastering engineer

Bert van der Wolf

Mixing console

Rens Heijnis Custom made

Microphones

Bruel & Kjaer, Schoeps

Recording format

PCM 44.1

Analog to digital converter

dCS900

Recording location

Resnswoude – The Netherlands

Composers

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Editing

Bert van der Wolf

Recording engineer

Bert van der Wolf

Producer

Ted Diehl

Type

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Format

,

Label

Genre

,

Digital to analog converter

Sony

Press reviews

Classical

(…) Derek Lee Ragins tone is pleasantly sweet or more darkly riche., and his admirably steady range combine with a nicely underplayed sense of emotional expression. Mr. Croton is best heard here in the role of accompanist.

Fono Forum

(…) genau jene Innigkeit und Expressivitt, die sogar eine Spur bezaubernder Affektierheit des Sngers vertragen. (…)

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