GIROLAMO FRESCOBALDI Affetti amorosi(Arie musicali. Firenze, 1630)
GCD 923702
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Céline Scheen, soprano Damien Guillon, countertenor Thomas Hobbs, tenorBenoît Arnould, bass
Le Banquet Céleste Damien Guillon
Production details
Total playing time 69:12 Recorded at the Église de Froville, France, on 24-28 June 2017 Engineered and produced by Aline Blondiau Booklet essay by Pierre Élie Mamou English - Français – DeutschMade in Austria
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GIROLAMO FRESCOBALDIAffetti amorosi(Arie musicali. Firenze, 1630)
01 Oscure selve 02 Corilla danzando sul prato 03 Eri già tutta mia 04 Balletto e Ciaccona (instr.) 05 Se l’aura spira 06 Dunque dovrò 07 Troppo sotto due stelle 08 Oh dolore 09 Toccata per spinetta, over liuto (instr) 10 Vanne o carta amorosa 11 Ardo e taccio il mio mal 12 Con dolcezza pietate 13 Non mi negate ohimè 14 Dove ne vai pensiero 15 Voi partite mio sole 16 Non vi partite 17 Doloroso mio 18 Gagliarda terza (instr.) 19 Gioite oh selve 20 Così mi disprezzate 21 Passacagli (instr.) 22 Ohimè che fur 23 Maddalena alla croce 24 Ancidetemi pur (instr.)25 Ti lascio anima mia
About this album
With Affetti amorosi Damien Guillon directs a dazzling selection of vocal works from Girolamo Frescobaldi, drawn from the Ferrara composer’s two books of Arie musicali. These arias date from 1615-1630, by which time Frescobaldi, now resident in Rome, had become a “cult” composer, and permitted great expressive freedom in the performance of his music.
Purposefully offering a recording full of contrasts and singing of human and divine love, countertenor Guillon is admirably matched by the other vocal talents in Le Banquet Céleste: soprano Céline Scheen, tenor Thomas Hobbs and bass Benoît Arnould. This new Glossa recording includes two of Frescobaldi’s enduring and moving spiritual sonnets, Maddalena alla croce and Ohimè che fur as well as one of the nascent Baroque’s favoured vocal forms, the lettera amorosa, in Vanne, o carta amorosa.
The singers are joined by lute, harp, cello and harpsichord from Guillon’s ensemble. In his wideranging and thought-provoking essay Pierre-Élie Mamou points out vivid characteristics of this early Baroque music – including “the play of opposites that greatly moves our souls” – notably the polarities between anxiety and pleasure, and time which passes and time which remains.