Luzzasco Luzzaschi Concerto delle Dame Madrigali per cantare et sonare a 1, 2, 3 soprani
La VenexianaClaudio Cavina, direction
La Venexiana Roberta Mameli, soprano Emanuela Galli, soprano Francesca Cassinari, soprano Cristiano Contadin, viola da gamba Gabriele Palomba, lute Marta Graziolino, harp Davide Pozzi, harpsichord Claudio Cavina, direction
Total playing time: 53’42 Recorded in Pinerolo, Italy, in August 2009 Engineered by Matteo Costa Produced by Claudio Cavina Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Stefano Russomanno English - Français - Deutsch - Español
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LUZZASCO LUZZASCHIConcerto delle DameMadrigali per cantare et sonare a 1, 2, 3 soprani
1 Aura soave 2 O primavera gioventù dell’anno 3 Ch’io non t’ami cor mio 4 Toccata 5 Stral pungente d’amore 6 Deh vieni hormai cor mio 7 Cor mio deh non languire 8 Io mi son giovinetta 9 Ricercare 10 O dolcezz’amarissime d’amore 11 Troppo ben può 12 T’amo mia vita 13 Canzon francese 14 Non sa che sia dolore 15 Occhi del pianto mio 16 Lodovico AGOSTINI: Donna mentre vi miro 17 Paolo VIRCHI: Segu’a rinascer l’aura
About this CD
Having moved forward in time if not in terms of original place of production – by following the Poppea of Monteverdi with the Artemisia of Francesco Cavalli – Claudio Cavina and La Venexiana now return to the end of the 16th century, for what is a fresh, new and distinctively Italian take on what was, for a long time, “secret” music: that composed by Luzzasco Luzzaschi when he was serving the ducal court of Alfonso II of Ferrara. Alfonso had brought together “singing ladies”, the Concerto delle Dame, virtuoso performers on instruments as well as with the voice, to delight and entertain the duke’s wife as well as privileged members of the court (rival courts apparently sent composer- “emissaries” to find out what was going on!). Kept under lock and key the music written for the Dame by Luzzaschi and others was only released and published on the Duke’s death. No less a musician searching after theoretical supports for composition as was the case with Claudio Monteverdi, was greatly impressed, when he was deliberating over the seconda pratica, with Luzzaschi’s modern handling of the madrigal form, and the Ferrara composer’s keyboard skills were also hugely admired by other contemporaries.
In Emanuela Galli, Roberta Mameli (the Artemia in Cavalli’s Artemisia) and Francesca Cassinari, Claudio Cavina has assembled a superb modern-day trio of singers ready to bring out all the subtleties and nuances of music and words in a further display of La Venexiana’s magisterial control of Italian music as it shifts gears from the Renaissance to the Baroque. In his booklet essay Stefano Russomanno provides detailed insight into the background surrounding the mystery of this musica secreta.
At Glossa we are very proud to salute the musical talents of our artists, whose splendid recordings ended 2008 receiving further critical approval, important echoes of how other music-lovers have been reacting across the year. Back in September 2008 Claudio Cavina of La Venexiana received its second Gramophone Award in London when their recording of Montervedi's L'Orfeo was voted by the UK magazine's critics as the winner in the Baroque Vocal category. [read more...]
Not for the first time in their illustrious career, Claudio Cavina and his Italian vocal and instrumental ensemble La Venexiana have just received a strong critical vote of approval for their artistry, with the announcement on Thursday September 25th that they have won a coveted Classic fM Gramophone Award. Claudio Cavina was on hand to collect the Baroque Vocal Award for 2008 (decided on by the specialist critics of the UK-based Gramophone magazine) at a ceremony held in London, UK for his and La Venexiana’s recording of the fabula in musica by Claudio Monteverdi, L’Orfeo.[read more...]