Cifras Imaginarias

$20.99
Label
Arcana
Release Date
March 10, 2017
Format
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    Featuring ⌄
    • COMPOSER
      DES PREZ WILLAERT CREQUILLON
    • PERFORMER
      Abramovich, Heringman
    Product Details ⌄
    Works ⌄

    1. Illibata Dei virgo nutrix (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Josquin des Prez

      Performer: Ariel Abramovich, Jacob Heringman

    2. Ricercar No. 7 (arr. A. Abramovich and J. Heringman for 2 vihuelas)

      Composer: Adrian Willaert

      Performer: Ariel Abramovich, Jacob Heringman

    3. Mor me a prive (arr. A. Abramovich and J. Heringman for 2 vihuelas)

      Composer: Thomas Crecquillon

      Performer: Ariel Abramovich, Jacob Heringman

    4. Ricercar (arr. A. Abramovich and J. Heringman for 2 vihuelas)

      Composer: Julio Segni

      Performer: Ariel Abramovich, Jacob Heringman

    5. Un gay bergier (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Antonio de Cabezón

      Performer: Ariel Abramovich, Jacob Heringman

    6. Italia mia (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Philippe Verdelot

      Performer: Ariel Abramovich, Jacob Heringman

    7. Pavana Italiana (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Antonio de Cabezón

      Performer: Ariel Abramovich, Jacob Heringman

    8. Dulces exuviae (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Josquin des Prez

      Performer: Ariel Abramovich, Jacob Heringman

    9. Fantasia No. 82

      Composer: Francesco da Milano

      Performer: Ariel Abramovich

    10. Passeavase el rey moro (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Francisco Fernández Palero

      Performer: Ariel Abramovich, Jacob Heringman

    11. Dont vient cela (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Claudin de Sermisy

      Performer: Ariel Abramovich, Jacob Heringman

    12. Ultimi mei sospiri (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Philippe Verdelot

      Performer: Ariel Abramovich, Jacob Heringman

    13. Fantasia No. 22

      Composer: Francesco da Milano

      Performer: Jacob Heringman

    14. Y con qué la lavaré (arr. A. Abramovich and J. Heringman for 2 vihuelas)

      Composer: Anonymous

      Performer: Ariel Abramovich, Jacob Heringman

    15. Dizen a mí que los amores he (arr. A. Abramovich and J. Heringman for 2 vihuelas)

      Composer: Juan Vásquez

      Performer: Ariel Abramovich, Jacob Heringman

    16. De los álamos vengo, madre (arr. A. Abramovich and J. Heringman for 2 vihuelas)

      Composer: Juan Vásquez

      Performer: Ariel Abramovich, Jacob Heringman

    17. Pater Noster (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Josquin des Prez

      Performer: Ariel Abramovich, Jacob Heringman

    18. Ave Maria (arr. A. Abramovich and J. Heringman for alto and bass vihuelas)

      Composer: Josquin des Prez

      Performer: Ariel Abramovich, Jacob Heringman


Rinaldo Alessandrini is one of today's most eminent Monteverdi authorities, and his highly acclaimed recordings with Concerto Italiano are now widely recognized as a reference point fo rmusic lovers all over the world. Recent achievements include the completion of Monteverdi's triology of operas at La Scala in Milan and at the Opera National de Paris, and a triumphal concert tour in Australia and New Zealand with the Vespro della Beata Vergine. To mark the 450th anniversary of Claudio Monteverdi's birth, Arcana is proud to reissue the seminal recording of the Sixth Book of Madrigals performed by Concerto Italiano, which is also one of Arcana's bestsellers. Rinaldo Alessandrini describes the Sixth Book as the book of separation: permanent in the case of death; temporary in the case of lovers at daybreak. It is the book of poignant expression which culminates in the cycles of lamenti, whose autobiographical character is well known: the successive deaths of Monteverdi's wife, Claudio Cattaneo, and his favorite singer, Caterina Martinelli. Its density of expression, its "italianita", not exempt from theatricality, by turns luminous and despairing, make it the place where interpretation is the fundamental element, capable of overwhelming our contemporaries.