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Monteverdi: Il Sesto Libro De Madrigali; 1600 / Alessandrini, Concerto Italiano

Monteverdi / Concerto Italiano / Alessandrini
Release Date: 02/25/2014 
Label:  Naive   Catalog #: 40042   Spars Code: DDD 
Composer:  Claudio MonteverdiAnonymousGiovanni GabrieliTarquinio Merula,   ... 
Performer:  Craig MarchitelliUgo Di GiovanniLoredana GintoliSergio Foresti,   ... 
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Number of Discs: 2 
Recorded in: Stereo 
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Notes and Editorial Reviews



MONTEVERDI Sixth Book of Madrigals ? Rinaldo Alessandrini, cond; Concerto Italiano ? NAÏVE OP 30423 (63:50)


Rinaldo Alessandrini recorded this collection once before on another label (17:5). Then for Opus 111 (now part of Naïve), he continued with the Fourth, Second, Fifth, and Eighth Books (17:3, 18:5, 20:4, 21:2, 22:2). Now, instead of the expected completion of the Eighth Book, we hear a re-make of the first attempt. Over 13 years later not a single singer remains of the earlier complement, Read more but the Gardano edition of 1620 is still used with harp, theorbos, and harpsichord continuo. (A reviewer in 16:4 claimed the earlier recording used ?Michel Bernstein?s new edition,? confusing the producer of the Arcana label with a supposed editor of the music.) The tempos this time are consistently faster, except only ?Zefiro torna.? The total difference is nine minutes, and Alessandrini has gone from slowest to fastest among four CDs in my collection. The only competition right now is Anthony Rooley?s very different interpretation on Virgin (14:4). Giovanni Antonellini on an old LP set used a chorus, Giovanni Acciai (18:2) made a weak impression, and Raffaello Monterosso (now over a decade old) has never been available here.


This publication includes six madrigals in the new concitato style, an innovation at the time. Yet three other works are recorded singly much more often. One is the ?Lamento d?Arianna,? a five-voice arrangement of the even more familiar aria from the lost opera. Another is the brief ?Zefiro torna? on a Petrarch text. Finally, the Sestina, ?Lagrima d?amante al sepulcro dell?amata? in six parts, was the very first Monteverdi ever recorded (in 1928) and has been familiar ever since. The contrast between Alessandrini?s two recordings and Rooley?s can be heard in the different instrumentation. Alessandrini follows the 1620 edition by using four players. Rooley uses a larger ensemble for the concitato pieces, but renders the Sestina unaccompanied. Acciai seems to have followed the original edition, and even in the concitato pieces he uses at most a gamba and a harpsichord. All four versions are beautifully sung, but I prefer the lively tempos in Alessandrini?s second thoughts, and this new version may be the most dramatically expressive of all, if only marginally so. Alessandrini?s notes are detailed and informative, greatly expanded from the note in his earlier disc. While anyone can be satisfied with any of the four discs, new purchasers are urged to look for this one.


FANFARE: J. F. Weber
reviewing the original release of the Monteverdi, Naive 30423



1600 Rinaldo Alessandrini (hpd, org, cond); Concerto Italiano (period instruments) NAÏVE OP 30531 (60:07)


Selections by ANONYMOUS (ROSSI?), G. GABRIELI, MERULA, MACQUE, FRESCOBALDI, SALVATORE, CASTELLO, ZANETTI, MARINI, LEGRENZI, G. BONONCINI, TORELLI, DALL’ABACO


More than any question of instruments, strings, bows, tunings, or temperaments, the modern historical performance movement is about attitude—the desire to find in ancient music a living voice, filtered through vigorous scholarship, willing to experiment and push boundaries, and, most of all, capture the depths of emotion hidden in the score. Rinaldo Alessadrini and Concerto Italiano are some of the most successful exponents of this idiom, having recorded the complete Monteverdi madrigals on Opus 111 (highly recommended) as well as a host of other albums, from the birth of the Baroque to Bach and Vivaldi. In this album, simply titled 1600, Alessandrini has created a program that traces the rise of Italian four-part instrumental music from its earliest parting with vocal models to the rise of the string concerto, foreshadowing the development of the string quartet. In less capable hands, such an undertaking could have produced another mixed bag of early Baroque hits and misses. However, Alessandrini’s well chosen and elegantly assembled program never falters, guiding the listener with a gentle hand through the evolution of music from elaborations on Renaissance polyphonic models to the birth of the galant.


Only two works on the disc were not originally written for strings, transcribed by Alessandrini, as was fairly common practice of the time, for the ensemble at hand—in this case, two violins, viola, cello, and a continuo group of theorbo and keyboard. Giovanni de Macque’s brief and appealing Consonanze stravaganti is aptly named, a rich and pleasing treat for the senses, rendered even more so by the ensemble’s lush string tone—anyone who would argue that period instruments lack the warmth and richness of modern strings needs to listen to this. Tarquinio Merula’s Capriccio Cromatico hearkens back to the mannerist extravagance of Gesualdo’s vocal works, yet is tamed by the new monodic style made famous by Monteverdi. Merula’s canzona La Chremasca highlights the viola playing of Ettore Belli, a sweet and resonant color that adds a welcome touch of tenor richness to the ensemble.


The Passacaglia by Biagio Marini, one of Italy’s first virtuosi, showcases the ensemble’s admirable control of affect and instrument. They are not afraid to take their time, indulging in the art of the adagio , tantalizing the ear at cadences with energetic embellishments. Scorching dissonances melt into their resolutions, made even more powerful by a colorful historical temperament and fine attention to intonation. Moreover, they never lose sight of the irrepressible dance that permeates so much of this repertoire, and which makes this album such a delight. Rhythms are crisp and clear; articulations are precise and never devolve into mere busyness. The brief dance movements from Zanetti’s Il Scolaro are fun and jovial, and stand in stark contrast to the more introspective and mournful selections, especially the anonymous fantasy “The Tears of Orpheus Having Lost His Wife” that opens the album. Violinists Mauro Lopes Ferreira and Nicholas Robinson prove their mettle with the precision bellicosity of Dario Castello’s Sonata Decimasesta from his second collection of sonatas (1644). My only wish is that they took more risks with improvisation; there is a wild dimension to this music that needs to be allowed to run free, the only thing holding this excellent album back from being extraordinary.


The final four works on the album cleverly and succinctly illustrate the transitional repertoire that flourished in the time between Monteverdi and Corelli, including a lovely and expressive early work by the globe-trotting Giovanni Bononcini, cello virtuoso and Tweedle-Dum to Händel’s Tweedle-Dee, and a forward-looking concerto by Evaristo dall’Abaco. Particularly fine is the Sonata Seconda from the 1682 collection by Venetian composer Giovanni Legrenzi, whose lively counterpoint and gift for texture significantly influenced both Corelli and Bach.


The sound is close and clear yet with a realistic depth to the soundstage that avoids overcompensating for the softer voices of the continuo instruments, especially the theorbo. This is a great introduction to the four-part instrumental music of the Italian Baroque, a repertoire often over-represented by trio sonatas. I would have enjoyed a solo keyboard work or two added to the mix, but the album never lacked for variety. Informative, enlightening, and entertaining. More, please.


FANFARE: Henry Lebedinsky
reviewing the original release of 1600, Naive 30531 Read less

Works on This Recording

1.
Madrigals, Book 6: Lasciatemi morire "Lamento d'Arianna a 5" by Claudio Monteverdi
Performer:  Craig Marchitelli (Theorbo), Ugo Di Giovanni (Theorbo), Loredana Gintoli (Harp),
Sergio Foresti (Bass), Gianluca Ferrarini (Tenor), Luca Dordolo (Tenor),
Raffaele Giordani (Tenor), Gabriella Martellacci (Alto), Anna Simboli (Soprano),
Monica Piccinini (Soprano), Rinaldo Alessandrini (Harpsichord)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 12 Minutes 55 Secs. 
Language: Italian 
2.
Madrigals, Book 6: Lasciatemi morire "Lamento d'Arianna a 5" - Zefiro torna by Claudio Monteverdi
Performer:  Rinaldo Alessandrini (Harpsichord), Craig Marchitelli (Theorbo), Ugo Di Giovanni (Theorbo),
Loredana Gintoli (Harp), Sergio Foresti (Bass), Gianluca Ferrarini (Tenor),
Raffaele Giordani (Tenor), Luca Dordolo (Tenor), Gabriella Martellacci (Alto),
Anna Simboli (Soprano), Monica Piccinini (Soprano)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 3 Minutes 55 Secs. 
Language: Italian 
3.
Madrigals, Book 6: Donna fra l'altre by Claudio Monteverdi
Performer:  Monica Piccinini (Soprano), Anna Simboli (Soprano), Gabriella Martellacci (Alto),
Raffaele Giordani (Tenor), Craig Marchitelli (Theorbo), Ugo Di Giovanni (Theorbo),
Loredana Gintoli (Harp), Sergio Foresti (Bass), Gianluca Ferrarini (Tenor),
Luca Dordolo (Tenor), Rinaldo Alessandrini (Harpsichord)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 3 Minutes 12 Secs. 
Language: Italian 
4.
Madrigals, Book 6: Lasciatemi morire "Lamento d'Arianna a 5" - A Dio, Florida bella by Claudio Monteverdi
Performer:  Gabriella Martellacci (Alto), Ugo Di Giovanni (Theorbo), Loredana Gintoli (Harp),
Sergio Foresti (Bass), Gianluca Ferrarini (Tenor), Luca Dordolo (Tenor),
Raffaele Giordani (Tenor), Anna Simboli (Soprano), Monica Piccinini (Soprano),
Craig Marchitelli (Theorbo), Rinaldo Alessandrini (Harpsichord)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 3 Minutes 56 Secs. 
Language: Italian 
5.
Madrigals, Book 6: Sestina - Lagrime d'amante al sepolcro by Claudio Monteverdi
Performer:  Gabriella Martellacci (Alto), Anna Simboli (Soprano), Monica Piccinini (Soprano),
Raffaele Giordani (Tenor), Luca Dordolo (Tenor), Gianluca Ferrarini (Tenor),
Sergio Foresti (Bass), Ugo Di Giovanni (Theorbo), Loredana Gintoli (Harp),
Craig Marchitelli (Theorbo), Rinaldo Alessandrini (Harpsichord)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 15 Minutes 58 Secs. 
Language: Italian 
6.
Madrigals, Book 6: Ohimè il bel viso by Claudio Monteverdi
Performer:  Anna Simboli (Soprano), Gianluca Ferrarini (Tenor), Luca Dordolo (Tenor),
Raffaele Giordani (Tenor), Gabriella Martellacci (Alto), Sergio Foresti (Bass),
Loredana Gintoli (Harp), Ugo Di Giovanni (Theorbo), Craig Marchitelli (Theorbo),
Rinaldo Alessandrini (Harpsichord), Monica Piccinini (Soprano)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 4 Minutes 57 Secs. 
Language: Italian 
7.
Madrigals, Book 6: Lagrime d'amante al sepolcro - Qui rise, o Tirsi by Claudio Monteverdi
Performer:  Monica Piccinini (Soprano), Anna Simboli (Soprano), Gabriella Martellacci (Alto),
Raffaele Giordani (Tenor), Luca Dordolo (Tenor), Gianluca Ferrarini (Tenor),
Sergio Foresti (Bass), Loredana Gintoli (Harp), Ugo Di Giovanni (Theorbo),
Craig Marchitelli (Theorbo), Rinaldo Alessandrini (Harpsichord)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 5 Minutes 20 Secs. 
Language: Italian 
8.
Madrigals, Book 6: Lagrime d'amante al sepolcro - Misero Alceo by Claudio Monteverdi
Performer:  Anna Simboli (Soprano), Craig Marchitelli (Theorbo), Ugo Di Giovanni (Theorbo),
Loredana Gintoli (Harp), Sergio Foresti (Bass), Gianluca Ferrarini (Tenor),
Luca Dordolo (Tenor), Raffaele Giordani (Tenor), Gabriella Martellacci (Alto),
Monica Piccinini (Soprano), Rinaldo Alessandrini (Harpsichord)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 4 Minutes 39 Secs. 
Language: Italian 
9.
Madrigals, Book 6: Lagrime d'amante al sepolcro - Batto, qui pianse Ergasto by Claudio Monteverdi
Performer:  Luca Dordolo (Tenor), Raffaele Giordani (Tenor), Gabriella Martellacci (Alto),
Anna Simboli (Soprano), Monica Piccinini (Soprano), Sergio Foresti (Bass),
Loredana Gintoli (Harp), Ugo Di Giovanni (Theorbo), Craig Marchitelli (Theorbo),
Rinaldo Alessandrini (Harpsichord), Gianluca Ferrarini (Tenor)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 3 Minutes 24 Secs. 
Language: Italian 
10.
Madrigals, Book 6: Lagrime d'amante al sepolcro - Presso un fiume tranquillo by Claudio Monteverdi
Performer:  Loredana Gintoli (Harp), Sergio Foresti (Bass), Ugo Di Giovanni (Theorbo),
Rinaldo Alessandrini (Harpsichord), Monica Piccinini (Soprano), Raffaele Giordani (Tenor),
Anna Simboli (Soprano), Gabriella Martellacci (Alto), Luca Dordolo (Tenor),
Craig Marchitelli (Theorbo), Gianluca Ferrarini (Tenor)
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1614; Italy 
Date of Recording: 12/2005 
Venue:  Farnese Palace, Rome, Italy 
Length: 5 Minutes 22 Secs. 
Language: Italian 
11.
Fantaisie: les pleurs d’orphée ayant perdu sa femme by Anonymous
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: 17th Century 
Written: France 
12.
Canzoni (6), 1608: Canzon a 4, C 186 "La Spiritata" by Giovanni Gabrieli
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Renaissance 
Written: Italy 
13.
Canzone quinta a quattro detta la chremasca by Tarquinio Merula
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
14.
Un cromatico ovvero Capricio by Tarquinio Merula
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
15.
Consonanze stravaganti, W 37 by Giovanni de Macque
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Renaissance 
Written: Italy 
16.
Canzoni (40) da sonare, libro primo: no 4 by Girolamo Frescobaldi
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: Venezia, 1634; Italy 
17.
Canzoni (40) da sonare, libro primo: no 5 by Girolamo Frescobaldi
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: Venezia, 1615; Italy 
18.
Ricercari a quattro voci: Canzone francesca seconda a quattro by Giovanni Salvatore
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: Napoli, 1641; Italy 
19.
Sonate concertate in stil moderno Book 2: Sonata no 10 à 3 by Dario Castello
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1629; Venice, Italy 
20.
Il scolaro...per imparar a suonare di violino, et altri stromenti by Gasparo Zanetti
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1645; Milan, Italy 
21.
Passacalia a 4 by Biagio Marini
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: Venezia, 1655; Italy 
22.
Sonate (16), Op. 11 "La cetra": no 2 by Giovanni Legrenzi
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: by 1673 
23.
Sinfonie da chiesa a quattro: Sinfonia quarta by Giovanni Bononcini
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: Bologna, 1687; Italy 
24.
Concerti (12) a quattro da chiesa, Op. 2: no 1 in D minor by Evaristo F. Dall'Abaco
Conductor:  Rinaldo Alessandrini
Orchestra/Ensemble:  Concerto Italiano
Period: Baroque 
Written: Amsterdam, 1712; Italy 

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