Monteverdi - Lamento d’Arianna, Scherzi Musicali, Lamento d’Ottavia
£14.20
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Label: Tactus
Cat No: TC561307
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 25th February 2008
Contents
Works
Armato il cor d'adamantina fede, SV150L'incoronazione di Poppea (The Coronation of Poppea)
La mia turca che d'amor, SV310
Ohime ch'io cado, SV316
Perche, se m'odiavi, SV320
Scherzi musicali
Si dolce e'l tormento, SV332
Artists
Rosita Frisani (soprano)Manuela Custer (mezzosoprano)
Ensemble Arte-Musica (on original instruments)
Conductor
Francesco CeraWorks
Armato il cor d'adamantina fede, SV150L'incoronazione di Poppea (The Coronation of Poppea)
La mia turca che d'amor, SV310
Ohime ch'io cado, SV316
Perche, se m'odiavi, SV320
Scherzi musicali
Si dolce e'l tormento, SV332
Artists
Rosita Frisani (soprano)Manuela Custer (mezzosoprano)
Ensemble Arte-Musica (on original instruments)
Conductor
Francesco CeraAbout
Based on a libretto by the Florentine poet Ottavio Rinuccini, Arianna was composed in a mere two months to be performed in Mantua in May 1608 for the wedding of the prince Francesco Gonzaga to Margherita of Savoy. Monteverdi masterfully exploits the varying levels of expressive intensity inherent in the diverse degrees of the D mode, and he confers upon each phrase the most suitable harmonic colour in accordance with the fundamental concept that “speech must be the mistress of harmony rather than her servant”. Also, the progressive raising by step of the harmony creates the effect of rising tension, as does the use of certain unusual intervals in the vocal part.
The Lamento d’Arianna, with its perfect form of alternating slow and rapid declamation and recurring melodic elements, became the model for dozens of secular and sacred laments throughout the seventeenth century. Leaping ahead almost thirty years, Monteverdi published his “Scherzi musicali, cioč arie et madrigali in stil recitativo con una ciaccona” in Venice in 1632. By this time, the composer has acquired a variety of experiences in the field of opera and the stile rappresentativo, as well as in that of the madrigal for one and two voices.
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