ALESSANDRO DELLA CIAIA Lamentationi
Roberta Invernizzi, soprano
Laboratorio ’600 Katerina Ghannudi, arpa doppia Craig Marchitelli, archlute Francesco Moi, organ Franco Pavan, theorbo, archlute & direction
Total playing time: 57:40 + 48:40 Recorded at Studio Cavalli, Castrezzato (Italy), in October 2014 Engineered and produced by Rino Trasi Executive producer: Carlos Céster Booklet text: Colleen ReardonEnglish – Français – Deutsch
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ALESSANDRO DELLA CIAIA (c.1605-c.1670) Lamentationi Sagre. Venice, 1650(with toccatas by Galilei, Saracini, Bernia and Della Ciaia)
CD I 01 Feria Quinta: Lamentatione Prima 02 Michelagnolo Galilei (1575-1631): Toccata in Do maggiore 03 Feria Quinta: Lamentatione Seconda 04 Michelagnolo Galilei: Toccata in Sol maggiore 05 Feria Quinta: Lamentatione Terza 06 Alessandro Della Ciaia: Toccata sopra il mottetto Ecce Venio 07 Feria Sesta: Lamentatione Prima 08 Claudio Saracini (c.1586-1630): Toccata intitolata all’illustrissimo signor Alfonso Strozzi 09 Feria Sesta: Lamentatione Seconda
CD II 01 Feria Sesta: Lamentatione Terza 02 Claudio Saracini: Toccata intitolata all’illustrissimo, et eccellentissimo signor conte San Secondo 03 Sabato Sancto: Lamentatione Prima 04 Michelagnolo Galilei: Toccata in Sol minore 05 Sabato Sancto: Lamentatione Seconda 06 Michelagnolo Galilei: Toccata in Do minore 07 Sabato Sancto: Oratione08 Vincenzo Bernia (c.1570-c.1620): Toccata Cromatica
About this CD
A new opportunity to hear the glorious virtuosity of Roberta Invernizzi comes with this Lamentationi, where the soprano is joined by Franco Pavan’s Laboratorio ’600 in an intimate and intense Passiontide score from mid seventeenth-century Siena: Alessandro Della Ciaia’s set of the Lamentations of Jeremiah. Convents throughout Siena at the time boasted nuns of considerable musical talents, both in singing and in playing instruments such as the organ, lute and theorbo, and it is undoubtedly for one such convent that the nobleman Della Ciaia wrote his music for the Holy Weeks matins services. His Lamentations are scored for a solo soprano possessed of a very wide range and capable of meeting his demanding technical effects.
Roberta Invernizzi is the ideal modern-day singer to rise to such spiritual music, and to respond to the text and its description of the grief over the fall of the city of Jerusalem and the terrible fate of its people.
Alessandro Della Ciaia was himself a noted player of the archlute, and his instrumental facility is evident across the lamentations, here performed by harp, archlute, organ and theorbo. Franco Pavan has chosen to intersperse the nine lamentations with toccatas by Michelagnolo Galilei, Claudio Saracini and Vincenzo Bernia as well as Pavan’s own reworking of an appropriate motet by Della Ciaia.