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Sigismondo d'India : Musique pour 1 et 2 voix. Ensemble Arte Musica, Cera.
Format : 1 CD
Durée totale : 01:01:24

Enregistrement : 30/08-02/09/2017
Lieu : Laureana Cilento
Pays : Italie
Prise de son : Stereo

Label : Brilliant Classics
Référence : BRIL95634
EAN : 5028421956343
Code Prix : DM009A

Année d'édition : 2018
Date de sortie : 04/07/2018

Genre : Classique
Sigismondo d'India (?1582-1629)
Alla guerra d’Amore
Intenerite voi, lagrime mie
Vorrei baciarti, o Filli
Cruda Amarilli
O Primavera gioventù dell’anno
O dolcezze amarissime d’amore
Ma se le mie speranze oggi non sono
Qui pur vedrolla al suon de’ miei sospiri
O lungamente sospirato invano
La mia Filli crudel
Odi quel rosignolo
Mormora seco
Vostro fui, vostro son
Dove potrò mai gir tanto lontano
Là, tra ’l sangue e le morti
Amico hai vinto
Poco quindi lontan nel sen del monte
Non morì già
Or che il ciel e la terra
Tu mi lasci o cruda bella
Occhi, convien morire
Com’è soave cosa
Donna, siam rei di morte
Occhi della mia vita

Ensemble Arte Musica
Lucia Napoli, soprano
Damiana Pinti, soprano
Andrés Montilla-Acurero, ténor
Riccardo Pisani, ténor
Silvia De Maria, viole de gambe, lirone
Francesco Tomasi, théorbe, guitare
Francesco Tomasi
Francesco Cera, clavecin, direction

These songs for one and two voices come from the first four of D’India’s five books of Musiche, a series containing masterpieces of astonishing originality in the style of monody (solo melody with accompaniment), which had eclipsed the polyphonic madrigal in popularity at the dawn of the 17th century. With a career based largely in Turin and Rome, Sigismondo D’India nevertheless demonstrates stylistic links to both Monteverdi and Gesualdo, and it is the latter’s influence which supports new scholarship claiming D’India grew up in Naples (not Sicily) in the shadow of the great madrigalist’s free thinking on harmony. That very harmonic freedom – to accentuate key emotions in the text with piquant chord changes – is the hallmark of D’India’s own, self-styled ‘true manner’ of composing monody, adopted from Gesualdo’s intense, chromatic polyphony to the solo song or duet, and it suggests a Neapolitan, rather than Roman–Florentine, musical background. In D’India’s own words, he uses ‘intervals out of the ordinary, moving with the greatest invention from one consonance to the next, depending on the variety of the meaning of the words’ for ‘greater impact and greater power to move the emotions of the soul’. It is this sense for the dramatic power of song that positions D’India as a true proto-operatic composer. In fact, his three-part setting of Clorinda’s death scene from Tasso’s Gerusalemme liberata (Amico hai vinto) predates by several years that of his contemporary Monteverdi: the revolutionary Il combattimento di Tancredi e Clorinda. Perhaps the young D’India’s wide travels across Italy, absorbing the musical styles at each locale and acquiring a broad grasp of the varied stylistic practices throughout the peninsula in the early Baroque, gave him the conviction to claim his own style as the ‘true manner’. In any case, its originality and vision are truly remarkable.

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