Classical Music

Classical Music

Biagio Marini (Brescia, 1594 - Venice, 1663) now is remembered not only as one of the most famous violin virtuosos of his time and an innovator of instrumental music, but also as a masterly composer of vocal pieces, both sacred and profane. The Concertos op. 7 reveal the composer's mastery. Adopting some traditional forms of the profane music of the Renaissance, such as the canto a ballo and the romanesca, and using ritornellos and refrains interspersed with different formal systematisations (nos. 1 and 5), Marini created complex, dynamic pieces, achieving a splendid synthesis of all the composition elements. These stylistic features that were typical of Marini's work arose and developed on the basis of his everyday musical life, in which he was active not only as a composer, but also as an instrumentalist and singer. The Costanzo Porta ensemble from Cremona, directed by Antonio Greco supported by the instrumental ensemble Cremona Antiqua, performs here for the first time this previously unknown collection of madrigals including texts, by famous poets of the time, inspired by themes and subjects from the pastoral poetry from the early seventeenth century. These are superbly put on music using "madrigalisms" that, a part for the voices, are extended to the accompanying instruments.

Classical Music

Classical Music

Classical Music

Classical Music

With this recording the vocal and instrumental Ensemble of the Cappella Musicale di Santa Barbara in Mantova directed by Umberto Forni continues the rediscovery of the musical heritage preserved in the Basilica archive. This time is the turn of the Apparato Musicale by Amante Franzoni, friar of the convent of San Barnaba in Mantova, where he performed musical activities requested by the Gonzaga court. Franzoni became an Academic of the Olimpico in Vicenza and, later, Chapel Master of the Duomo of Forlì. In 1612 he returned to his hometown and took up the same position in Santa Barbara hired by Duke Francesco Gonzaga who died two months later. At that point Franzoni dedicates his Apparato Musicale to Ferdinando Gonzaga (taking the power from Francesco), composed for the feast of Santa Barbara whose cult was of primary importance in the devotion of the Gonzaga court.

In his “Journey to Italy” Charles Burney described how Vandini “played in such a way that he made his instrument speak”. Priest, composer and famous cellist, Antonio Vandini had important assignments in Bergamo, Venice (where he will also get in touch with Vivaldi), and in Padua at the Basilica of Sant'Antonio with Giuseppe Tartini, whom with he will also serve the Count of Prague for 4 years. As witnessed by his correspondence with Tartini and Padre Martini, Vandini will then continue his musical activity working closely with Tartini himself. From 1769 Vandini hosts Tartini, now a widower, in his home until 1770, the year of the death of the high violinist. In 1776 he leaves his position to a pupil and went back to Bologna where he was passed away two years later. He did not leave a great deal of works, those that came to us unequivocally testify that Father Vandini becomes by right part of that great Bolognese cello school together with Gabbrielli, Franceschini, Vitali and Degli Antoni. Antonio Mostacci, accompanied by the Bologna Baroque Ensemble, for the solo part plays a 5-string piccolo cello by the Testore school, 1750 ca.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music