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COMPOSERCACCINI, GIULIO
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PERFORMERFantazyas, Balconi
Caccini: Amarilli / Balconi, Fantazyas
- Brilliant Classics
- June 25, 2021
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RELEASE DATEJune 25, 2021
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UPC5028421962542
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CATALOG NUMBERBRI96254
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LABELBrilliant Classics
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NUMBER OF DISCS1
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GENRE
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Movetevi à pietà
Composer: Giulio Caccini
Ensemble: Fantazyas
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Queste lagrim'amare
Composer: Giulio Caccini
Ensemble: Fantazyas
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Dolcissimo sospiro
Composer: Giulio Caccini
Ensemble: Fantazyas
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Io parto, amati lumi
Composer: Giulio Caccini
Ensemble: Fantazyas
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Amor, io parto, e sento nel partire
Composer: Giulio Caccini
Ensemble: Fantazyas
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Ardi, cor mio
Composer: Giulio Caccini
Ensemble: Fantazyas
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Non più guerra, pietate
Composer: Giulio Caccini
Ensemble: Fantazyas
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Perfidissimo volto
Composer: Giulio Caccini
Ensemble: Fantazyas
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Ard'il mio petto misero
Composer: Giulio Caccini
Ensemble: Fantazyas
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Vedro 'l mio sol, vedro prima ch'io muoia
Composer: Giulio Caccini
Ensemble: Fantazyas
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Fere selvaggie
Composer: Giulio Caccini
Ensemble: Fantazyas
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Fillide mia, se di belta sei vaga
Composer: Giulio Caccini
Ensemble: Fantazyas
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Amarilli, mia bella
Composer: Giulio Caccini
Ensemble: Fantazyas
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Sfogava con le stelle
Composer: Giulio Caccini
Ensemble: Fantazyas
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Fortunato augellino
Composer: Giulio Caccini
Ensemble: Fantazyas
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Udite, udite, amanti
Composer: Giulio Caccini
Ensemble: Fantazyas
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Occh'immortali
Composer: Giulio Caccini
Ensemble: Fantazyas
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Dovrò dunque morire
Composer: Giulio Caccini
Ensemble: Fantazyas
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Odi, Euterpe, il dolce canto
Composer: Giulio Caccini
Ensemble: Fantazyas
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Filli, mirando il cielo
Composer: Giulio Caccini
Ensemble: Fantazyas
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Belle rose porporine
Composer: Giulio Caccini
Ensemble: Fantazyas
Featuring ⌄
Product Details ⌄
Works ⌄
| In this expert recording, singer Roberto Balconi and group Fantasyas approach Giulio Caccini’s (1551-1618) Le Nuove Musiche with a focus on authentic performance practice as specified in great detail by the composer himself in the preface to the work. Dated 1601 and published in 1602, Le Nuove Musiche contains madrigals and arias for solo voice with basso continuo accompaniment and is a seminal collection in the establishment of the new Baroque style of monody which broke with Renaissance practices in many significant ways. In the preface, Caccini exhorts the performers to honour the primacy of speech and speech rhythm. Balconi explains: ‘Monody is more about words and metre than singing, focusing on the declamation of the semantic, rhetorical and prosodic elements of the poetic text rather than constructing a melody.’ This was a departure from the combined voices of Renaissance counterpoint, a move towards solo poetic recitation with the nuance of music in service of the meaning. Caccini lays out guidelines for the retrained and appropriate use of the improvised ornamentation that was the vogue in his day but which he considered too often gratuitous and overly virtuosic at the expense of the music. He stresses these should be used judiciously so that the singer can ‘almost speak in harmony’, in other words recite the text more or less normally using music. In adhering assiduously to Caccini’s compositional concept, Balconi and Fantazyas create an authentic and powerfully moving document of the birth of monody, which not only inspired the invention of opera but changed the entire course of music history. |
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