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L'Histoire de Saint Martin, 1558. Musique vocale et instrumentale de la Renaissance italienne. Cascio.
Format : 1 CD
Durée totale : 01:01:47

Enregistrement : 01/04/2018
Lieu : Noceto
Pays : Italie
Prise de son : Stereo

Label : Tactus
Référence : TC520003
EAN : 8007194106930
Code Prix : DM017A

Année d'édition : 2019

Genre : Classique
Anonyme (15e siècle)
La Historia del Beato San Martino
O derata
O bella rosa
Verbum caro
Jay pris amour
O crux, fructus salvificus

Petrus Hedus (1427-1504)
O croce sancta
O vergene gentile
Ave Maria, verzene coronata

Robert Cascio (20e siècle)
Borombetta

Innocentius Dammonis (1460-?)
L'amor a mi venendo

Marchetto Cara (1465-1525)
Salve sacrato legno

Vincenzo Capirola (1474-1548)
Qui tollis peccata mundi
Padoana al francesse

Josquin des Prés (1440-1521)
Fortune destrange, pauper sum ego

Joan Ambrosio Dalza (?-1508)
Calata ala spagnola ditto terzetti

Capella Musicale di San Giacomo Maggiore de Bologne
Teresa Parigi, chant
Antonio Lorenzoni, chant, flûte, cialamella
Anna Mosconi, chant, rebec, basse de viole
Giovanni Tufano, chant, oud, percussions
Roberto Cascio, récitant, psaltérion, luth, direction

Within this recording for the first time is brought to light the reading of the “Historia del Beato San Martino”, a devotional text of the beginning of the sixteenth century which narrates in a fresh and popular language the events of San Martino of Tours, through a colorful account of his life in a dialectal, proverbial and domestic jargon, which plunges us into the typical mixed atmosphere of divine and profane of the end of Humanism and beginning of the Renaissance. The reciting voice of Roberto Cascio is flanked by the instrumental ensemble of the Cappella Musicale di San Giacomo Maggiore in Bologna. The choice of music was based on the particular period of Italian music prevalent at the end of the 1400s and the beginning of the 1500s, and, in particular, on the widespread devotional-laud genre and the use of spiritual camouflaging (in fact, the melodies derived from the secular repertoire, which, in turn and very often, came from the many French composers who, at that time, frequented the most important Italian courts).

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