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La fresque perdue. Musique pour la Bataille d'Anghiari. Ensemble Umbra Lucis.
Format : 1 CD

Label : Urania
Catalog No. : LDV14054
EAN : 8051773570544
Price Code : DM016A

Publishing Year : 2019
Release Date : 05/02/2020

Genre : Classical
William Byrd (1543-1623)
The drum and flute

Nicoletta Andreuccetti (1968-)
Del visible dell''invisible, l'Affresco Perduto

Guillaume Dufay (1400-1474)
Donne l'assault à la fortresse

Giovanni Gabrieli (1557-1612)
Intonazione del VII tono

Tomás Luis de Victoria (?1548-1611)
Estote fortes in bello
Te deum laudamus

Jacquet van Berchem (?1505-?1565)
Le donne, i cavallier, l'arme, gli amori
O grand bonta de cavallieri antiqui

Capitaine Tobias Hume (1569-1645)
Soldier's March

Giovanni Battista conforti (1550-1605)
Non rumor di tamburi a suon di trombe

John Dowland (1583-1626)
My Lord Willoughby's Welcome home

Giovanni Ferretti (1540-1609)
Mettetevi in battaglia, pensier miei

Gioseffo Guami (1542-1611)
Canzona sopra la battaglia

Matthias Hermann Werrecore (?1500-?1574)
O signori italiani, El gran duca milanese

Annibale Padovano (1527-1575)
Battaglia a 8

Andrea Gabrieli (1533-1585)
Intonazione del II tono

Ensemble Umbra Lucis
Stefano Bagliano, flûte à bec
Fabrizio Lepri, viole de gambe
Stefano Lorenzetti, clavecin
Fabiano Martignago, flûte à bec
Manuel Staropoli, flûte à bec
Teresa Peruzzi, viole de gambe, continuo

The relationship between music and battle bears witness to the ethical dimension of music and its impact on the human. But warfare is also a metaphor and sign of the battles to which the existence is voted: amorous disputes, moral duels ... In a word: the dialectic between shadow and light that incessantly beats life. Shadow and light that has marked, according to the contemporary chronicle, also one of the symbolic events of the Italian Renaissance: the Battle of Anghiari. It is said, in fact, that the Milanese troops remained as blinded by an invasive and omnipresent light that prevented them from seeing the enemy and winning it. In this musical journey, ideally anchored in this paradigmatic event, the battle is interpreted both in its factual and metaphorical dimension: from the love battles (Dufay, Berchem, Conforti) to the battles tout court (Banchieri, Werrecore); from the theme of the return (Dowland) to the autobiographical story (Hume, composer and at the same time captain); to the end with a gratitude for the victory (De Victoria) which, a$ er all, brings everyone together: winners and losers, light and shadow, now regained in peace.

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