Monteverdi: Libri dei Madrigali, Books 1 & 9
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Performer: Matteo BellottoComposer: Claudio Monteverdi
Conductor: Claudio Cavina
Performer: Claudio Cavina
Performer: Francesca Cassinari
Performer: Nadia Ragni
Performer: Roberta Mameli
Performer: Giuseppe Maletto
Performer: Raffaele Giordani
Edition: Music CD
Format: Import
CD Release Date: 2008-05-27
Music Label: Glossa
Soundtracks:
- Ch'ami la vita mia
- Se per avervi, ohim?
- A che tormi il ben mio
- Amor, per tua merc?
- Baci soavi e cari
- Se pur non mi consenti
- Filli cara e amata
- Poich? del mio dolore
- Fumia la pastorella: Fumia la pastorella (prima parte); Almo divino raggio (seconda parte); Allora
- Se nel partir da voi
- Tra mille fiamme
- Usciam, ninfe, omai
- Questa ord? il laccio
- La vaga pastorella
- Amor s'il tuo ferire
- Donna s'io miro voi
- Ardo, s? ma non t'amo: Ardo, s? ma non t'amo (prima parte); Ardo o gela a tua voglia (seconda parte
- Bel pastor
- Zefiro torna
- Alcun non mi consigli
- Di far sempre gioire Amor
- Quando dentro al tuo seno
- Non voglio amare
- Com'? dolce oggi l'auretta
- Alle danze, alle gioie
- Perch? se m'odiavi
- S?, s?, ch'io v'amo
- Su, su, pastorelli vezzosi
- O mio bene, o mia vita
Music reviews of Monteverdi: Libri dei Madrigali, Books 1 & 9
Music Review: After the Storm...
Rating: 5 Stars
...of agitated emotions in La Venexiana's stunning recording of Monteverdi's Eighth Book of Madrigals, this CD of "first and last" has the sweetness of crocuses and songbirds -- the great Claudio enchanting us again with nymphs and shepherds, proving that he can capture joy in music as deftly as despair.
Claudio Monteverdi (1567-1643) published his Primo Libro di Madrigali when he was nineteen years old, but it was already his third publication, predated by his Madrigali Spirituali and Canzonette, some portions of which he'd composed before age fifteen. The Primo Libro is a collection of 21 five-voice unaccompanied polyphonic madrigals using by all the fashionable love-poets of the era. In keeping with madrigal convention, there are cryptic references both to his idealized "Camilla" and to his flattered patron, Duke Marco Verita. Much is conventional in the musical language also, as the young composer obviously intended to demonstrate his mastery of the genre. These madrigals are tiny masterpieces of polyphony; the longest is less than three minutes of sheer compositional virtuosity. La Venexiana has artfully strung them together with almost inaudible "seams" so that the whole is more complex and captivating than the bits, linking 21 gems into a dazzling necklace. Countertenor Claudio Cavina, the director of La Venexiana, has gathered an ensemble of voices that blend impeccably. Cavina seems to be the keystone of this blend of women's and men's voices, leading selflessly from the middle, the alto voice.
The Nono Libro di Madrigali of 1651 is a charming imposter. Monteverdi didn't assemble it; eight years after his death, his publisher Alessandro Vincenti bundled pieces from earlier collections with unpublished pieces in his private possession, obviously with hopes of raking in some profits from Monteverdi's continuing popularity. In fact, fewer than half of the pieces in the Nono Libro are madrigals in any sense. Most are canzonette, a lighter, more rhythmically regular and dance-like genre of which Monteverdi was equally the gold-medal master. The several madrigals that Vincenti reprinted from Monteverdi's Ottavo Libro are not performed on this CD, being already included in the complete recording of the Ottavo by La Venexiana. Thus the Nono Libro as performed on this CD is all pure frolic.
The canzonetta genre provides more sonic space for instrumental independence. La Venexiana gives us some spectacular strumming and plucking sounds - theorbo, harp, and harpsichord - flitting around the lush voices of the Nono Libro songs. The tenor duet "Zefiro Torna" is surely the summit of Monteverdi's art, a magical evocation of springtime and the return of joy.
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