Описание CD

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  Исполнитель(и) :
   Various Artists  (Composer) , Gabriel Garrido (Conductor
◄◄◄        ►►►

  Наименование CD :
   Firenze 1539



Год издания : 1990

Компания звукозаписи : Tactus

Время звучания : 46:54

Код CD : tactus tc 53012001

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics (Reconstruction)      

Musiche fatta nelle nozze dello illustrissimo Duca di Firenze il Signor Cosimo de Medici et della illustrissima consorte sua mad. Leonora da Tolletto

Centre de Musique Ancienne di Ginevra / Studio di Musica Rinascimentale di Palermo / Schola Jacopo da Bologna - Gabriel Garrido

Schola Jacopo Da Bologna Choir - Chorus

Centre de Musique Ancienne di Ginevra - Orchestra

Studio di Musica Rinascimentale di Palermo - Orchestra

Performers: Maria Cristina Kiehr (soprano, rebec), Nadia Ragni (soprano), Marie-Laure Trystam (soprano), Miti Amari (soprano), Donatella Triolo (soprano), Claire-Lise Stehle (soprano), Gloria Moretti (soprano), Picci Ferrari (mezzo-soprano), Fiorella Pratelli (mezzo-soprano), Luisa Migliorino (mezzo-soprano), Elisabetta Dalla Valle (mezzo-soprano), Letizia Verzellesi (contralto), Francesca Giarini (contralto), Fortunata Prinzivalli (contralto), Claudio Cavina (countertenor), Marco Beasley (tenor), Pietro Valguanera (tenor), Maurizio Maiorana (tenor), Fulvio Bettini (tenor), Ariel Azcue (bass, krumhorn), Maurizio Casciola (bass), Alberto Scaltriti (bass), Salvo Pappalardo (bass), Willem de Waal (bass), Daniel Ficola (bass), Paolo Fanciullacci (cornet), Robert Ischer (cornet), Patrick Lehmann (cornet, krumhorn), Claudio Mandonico (cornet), Luca Bonvini (sackbut), Sophie de Dixmude (sackbut), Frank Bottger (sackbut), Sergio Negretti (sackbut), Gabriel Garrido (recorder), Giovanni Antonini (recorder), Roberto Festa (recorder, zufolo, krumhorn), Daniele Ficola (recorder), Christine Nussle (recorder, krumhorn), Marcos Volonterio (recorder), Dario Lo Cicero (flute), Nicole Journot (flute, krumhorn), Jorg Fiedler (flute), Alain Sobczak (krumhorn, dulcian), Marco Ferrari (bombarde), Dante Bernardi (bombarde), Pier Gabriele Callegari (bombarde), Renee Stock (viol), Caroline Howald (viol), Frederike Daublin (viol), Remo Guerrini (viol), Humberto Orellana (viol), Ricardo Massun (viol), Paolo Rigano (lute), Silvio Natoli (lute), Sebastiano Scollo (lute), Roberto Cascio (lute), Perla Manfre (harp), Maria Rosaria Falcone (harpsichord), Basilio Timpanaro (harpsichord, organ)

Recording dates: August 1987 & November 1988; CD issued: 1993

This program is a conjectural reconstruction of a service for the wedding of Cosimo de Medici in Florence, 1539. Composers represented include Francesco Corteccia (1502-1571), Matteo Rampollini (1497-1553) and Costanzo Festa.

========= from the cover ==========

During the fifteenth and sixteenth centuries it became a common practice, not only in Italy but also in Burgundy and Spain, for musical intermedi to be used to punctuate stage-plays, processions, tournaments, banquets and other festivities. Such events may have been patronised by the pope, a cardinal, a king, a duke (as in Florence in 1539), or even by a municipality and the occasion itself may have been a wedding (again as in Florence), a betrothal, a political alliance, or the entry of an important visitor to the city. It was particularly on the occasion of state visits that intermedi were inserted into banquets and processions. In 1473 for example, when Eleonora of Aragon, the bride of Duke Ercole I d'Este of Ferrara, passed through Rome on her way north, she was entertained with a lavish banquet by Pope Sixtus IV (the founder of the Sistine Chapel) and his high-living nephew Cardinal Pietro Riario (incidentally, it was no doubt occasions such as this one that caused a plan for curial reform to be drawn up, after Riario's death, which proposed that "because the banquets given by the afore-mentioned lord cardinals give rise to scandal, we establish and command that henceforth [they]...be conducted with sobriety and moderation... At table, let sacred texts be read. let there be no music, no profane songs, no acted fables"). In one of the several intermedi which were presented before Eleonora in 1473. the god Orpheus appeared, with his lyre initially obscured behind the open tail of a peacock. The incident is an early example of two common ingredients of the intermedio tradition, firstly an emphasis on spectable, in this cask the miraculous appearance of a protagonist who is discovered behind plumage, and secondly A reliance on Ovid's Metamorphoses, a standard source of many intermedi and Early Operas.

The evocation of "wonder", which in turn often reflected upon the magnanimity and erudition of the prince, was a fundamental aspect of an art form which, in Italy at least, was almost exclusively associated with courtly society. And it was at another North Italian court, that of the Gonzaga at Mantua, that the Ovidian tale of Orpheus makes an important re-appearance in Angelo Poliziano's play La fabula d'Orfeo, performed in 1480, The music for Orfeo is lost, but the work imaginatively combines the author's literary and musical interest in a highly individual way by introducing songs, including a lament, a serenade, and a choral finale, into the body of the play. this model was highly influential, and in the history of music and of opera the most important intermedi are those which were performed to frame the acts of spoken dramas. A comedy or tragedy of the time was customarily divided into five acts, and so could be performed with six intermedi, one before each act and then one at the end of the play. During the sixteenth century, these groups of intermdi grew in size and elaboration so that they eventually overwhelmed the play itself which, from the spectators point of view, now became the less remarkable element of the performance.

The early history of the intermedio in Italy is intimately bound up with theatrical traditions at the Northern courts, particularly those of Mantua and Ferrara, but by the third decade of the sixteenth century the practice can be traced elsewhere, notably in Florence, for the performance of a sacred play, Santa Uliva, given there in 1525, a series of intermedi were written some of which again make use of thematic material taken from Ovid. Again the music has not survived, but some of the pieces written for a performance of Machiavelli's La Mandragola by Philippe Verdelot, a Flemish composer then resident in Florence and employed at the Duomo, have come down to us. The performance itself was given in Faenza, but the literary and musical components of the work come directly out of Florentine experience. Similar in style to the Mandragola pieces are the canzone, also written by Verdelot, for the first performance of Machiavelli's la clizia, given during the carnival of 1525 and the first example in the Italian tradition of a comedy with intermedi. Thus both these performances of Machiavelli's plays incorporated the new madrigal genre which, in the hands of Verdelot and others, was a largely Florentine phenomenon during these years. In terms of function these intermedi commented on the events within the play almost in the manner of classical choruses; in effect they introduced a sense of temporal perspective by incorporating characters from a different world and time of the play itself.

These novelties lie behind the first of the great courtly spectacles of sixteenth-century Florence, the performance of Antonio Landi's Il Commodo given to celebrate the wedding of Cosimo de' Medici and Eleonora of Toledo in 1539. Following a banquet, the piece was given in the Medici palace in the Via Larga (now known as the Riccardi palace), where the second courtyard had been covered with a sky of tautly-stretched cloth and decked on three sides with rich tapestries. Landi's play is cast in the conventional form of five acts, and for it seven intemedi were devised, one before each act and two to serve as an epilogue. The music for all seven is the work of Francesco Corteccia, a native Florentine then in charge of the music at the Medici church of San Lorenzo and so, in effect, maestro di cappella to the newly-restored Medici dynasty. Although Corteccia's music is still written in a recognizably madrigalian vein, it is noticeable that the range of sonorities which he uses is greater than in any previous intermedia, ranging from Silenus' song in the fourth intermedio to the choral finale for the followers of Bacchus in the seventh. Silenus, singing of the favourite Ovidian subject of the Golden Age, is given a solo accompanied by a bowed string instrument, while at the other end of the acoustical spectrum is the final Bacchus chorus, (which uses the words "Bacco, Bacco, evoe" just as Poliziano had done in his finale of 1480), performed by eight singers accompanied by eight instrumentalists including wind instruments. Quite clearly, the audience expected not only lavish hospitality (one of the reasons for the perennial appeal of Bacchus), but also the greatest effect in terms of sheer sound in this final piece. In details such as this, and the text of Silenus' song wich parallels the Golden Age of antiquity and the "blessed golden years" of Duke Cosimo and his bride, can be seen the origins of the Medicuan tradition of the tntermedi as an instrument of statecraft. It was this tradition more than any other that was to bring the intermedio to a degree of musical and technological sophistication that made it one of the most important formative influences upon opera itself.

-Ian Fenlon


  Соисполнители :

Costanzo Festa (Composer)
Francesco Corteccia (Composer)
Matteo Rampollini (Composer)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Ingredere         0:03:12 Francesco Corteccia
   2 Pass'e Mezzo         0:01:16 Anonymus
   3 Sacro Et Santo Himeneo         0:03:46 Francesco Corteccia
   4 Fiorenza         0:02:16 Costanzo Festa
   5 Pisa         0:02:05 Matteo Rampollini
   6 Volterra         0:04:18 (Giovanpiero) Pietro Masacone
   7 Arezzo         0:01:35 Costanzo Festa
   8 Cortona         0:01:32 Baccio Moschini
   9 Pistoia         0:02:15 Matteo Rampollini
   10 Il Tevero         0:02:13 Baccio Moschini
   11 Le Forze D'Hercole         0:01:36 Anonymus
   12 La Morte Della Ragione         0:03:46 -"-
   13 Su L'herba Fresca         0:01:14 -"-
   14 La Pisanella         0:01:11 -"-
   15 Aurora          0:01:48 Francesco Corteccia
   16 I Pastori         0:02:34 -"-
   17 Le Syrene         0:02:03 -"-
   18 Sileno         0:02:10 -"-
   19 Le Ninphe         0:01:56 -"-
   20 La Notte         0:02:38 -"-
   21 Ballo Di Satiri Et Baccante         0:01:29 -"-

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

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Последние изменения в документе сделаны 20/10/2016 22:07:04

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