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
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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 | Alessandro Piccinini, Anonymous, Cosimo Bottegari, Girolamo Frescobaldi, Laurencini di Roma, Philippe Verdelot, Sigismondo D'India |
Editing | Bert van der Wolf |
Recording engineer | Bert van der Wolf |
Producer | Ted Diehl |
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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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