Mortale, Che Pensi? / Headley, Atalante

Release Date: 6/10/2014
Label: Nimbus
Catalog Number: NI6266
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Number of Discs: 1

Physical Format:

CD
In Stock
$14.99
Notes and Editorial Reviews


RELIQUIE DI ROMA III: Mortale, che pensi? Erin Headley, cond; Atalante NIMBUS 6266 (66:31 Text and Translation)


Cantatas, madrigals, and instrumentals by L. ROSSI, CARISSIMI, STRADELLA, MAZZOCCHI, LEONE, ANONYMOUS


Reliquie di Roma is very much a play on words. “Relics of Rome” summons up images of the architecture of the Roman Republic and subsequent Empire, but here it is taken to mean the music played in the 17th-century academies formed in the capitol of the Papal States. It was a time of rediscovery, of Arabic medicine and mathematics, Neo-Platonist theories of the soul, and planetary affinities. It was also a time of artistic experimentation in music, spurred on by studies into Attic Greek modes, with new forms, instruments, and tonal relationships. The Italian States were a trade nexus for Asian, African, and European goods, as well as the center of the one of the world’s most powerful religions, all of which lent a financial and artistic splendor to the many courts of its secular and sacred rulers.


This album provides an attractive sampling of the works that would have been heard at these rulers’ academies (and in a few instances, still exist in manuscripts in the Vatican library). Some of it, such as Luigi Rossi’s Mortale, che pensi? and Stradella’s L’incendio di Roma , look back stylistically to the beginning of the century, recalling either Monteverdi’s madrigals or the fluid, ever-shifting expressiveness of the newly developed recitative, with its ability to mirror shifts of emotional degrees. Other pieces are more experimental, such as Marazzoli’s Lagrime amare , its 19-tone octave allowing for pure thirds. (Similar developments were mirrored in some contemporary instruments, of which a few survive, such as an enharmonic virginal by Francesco Poggio currently in the Rodger Mirrey Collection at the University of Edinburgh. It can be heard in a toccata by Michelangelo Rossi on Delphian 34039.) His lament of the Magdalene is striking, its unusual harmonic progressions embedded for dramatic effect next to stretches of more conventional ones, in a monophonic texture.


Erin Headley, who formed Atalante in 2007, did so initially to secure visibility for the repertoire of the lirone. Aside from a few instrumental selections, however, this recording emphasizes vocals, often with fairly simple accompaniment. Five of the six singers receive enough space to prove themselves both technical and expressive masters of this material—by my reckoning, Nadine Balbeisi in Rossi’s Lamento di Zaida and Theodora Baka in Marazzoli’s Lamento d’Armida , in particular. The nine instrumentalists, mostly strings, bowed and plucked, come into their own on four pieces where they display great purity and balance of tone. Here, Bojan ?i?ic’s playing in Leone’s Sonata XXIX is especially to be commended for its beauty and elastic phrasing. Though not featured, Headley’s influence can be felt everywhere as director, in her ensemble that is stylistically informed, and breathes this passionate music as though it were fresh and alive—which in Atalante’s hands and voices, it definitely is. Strongly recommended.


FANFARE: Barry Brenesal
Works on This Recording
1. Deh memoria e che più chieidi?, cantata for soprano & continuo by Giacomo Carissimi
Performer: Katherine Watson
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
Written: 1650 ;
2. Nisus et Euryalus: Epilogue. Purpureus veluti cum flos succisus arratro by Domenico Mazzocchi
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
Written: 1638 ;
3. Nisus et Euryalus: Epilogue. Hunc ego te Euryale aspicio by Domenico Mazzocchi
Performer: Katherine Watson
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
Written: 1638 ;
4. Sonata for violin & continuo No. 29 in tone 8, Op. 3/29 by Giovanni Antonio Leoni
Performer: Bojan [Violin] Cicic (Violin)
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
5. Lamento di Zaida mora by Luigi Rossi
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
Written: circa 1630 ;
6. Dialoghi, e sonetti: Lagrime amare by Domenico Mazzocchi
Performer: Katherine Watson
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
7. Sinfonia "Il Damone" by Alessandro Stradella
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
8. Mortale, che pensi?, for 2 sopranos, tenor & continuo by Luigi Rossi
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
9. Jephte: Plorate, filii Israel by Giacomo Carissimi
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
Written: by 06/16/1648 ;
10. L'incendio di Roma, cantata for bass & continuo by Alessandro Stradella
Performer: Christian Immler
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
11. Lamento d'Armida, cantata for soprano & continuo by Marco Marazzoli
Performer: Theodora Baka
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
12. A piè del sanguinoso tronco, lament for voice & continuo by Anonymous
Performer: Samuel Boden
Conductor: Erin Headley
Orchestra/Ensemble: Atalante
Period: Baroque
Customer Reviews