Giovanni Legrenzi (?1626-1690)
Sonates a due, e tre, op. 2 Venice 1655 (extraits)
"Acclamationi divote" a voce sola, Bologna 1670 (extraits)
"Harmonia d'affetti devoti", Venice 1655 (extraits)
Ave Regina coelorum à 2, extrait de "Sentimenti devoti", Venice 1660

Tarquino Merula (1595-1665)
Canzon di Tarquinio Merula, extrait de "Libro di Fra' Gioseffo da Ravenna", Ravenna Classense MS 545

Luigi Battiferri (1600-1682)
Ricercare Sesto, con due sogetti, extrait de Ricercari a quattro, a cinque, e a sei, op. 3 Bologna 1699

Giovanni Paolo Colonna (1637-1695)
Sonate n° 7 del Colonna di Blologna, extrait de "Sonate da organi di varii autori", Bologna 1697

Carlo Francesco Pollarolo (1653-1723)
Sonate n° 2 "del Pollaroli", extrait de Sonate da organo di varii autori, Bologna 1697

Ensemble Zenit

Isabella Di Pietro, alto
Roberto Rilievi, ténor
Pietro Modesti, cornet
Fabio De Cataldo, trombone baroque
Gilberto Scordari, orgue

Stylish new recordings of psalms, songs and dances from Italy in the last of the 17th century, centred around the protean figure of Giovanni Legrenzi. Born in 1626, Legrenzi was a native of the Marches region of northern Italy who made his career as an organist first in Bergamo and then the more cosmopolitan city of Ferrara, where he became maestro di cappella of the Accademia dello Spirito Santo in 1656. The music on this album dates from the following two decades, when despite professional frustrations his work was fired with tireless compositional élan. He began to perfect the style of the instrumental sonata and to favour the non concertato vocal repertoire, featuring one or more voices accompanied by basso continuo alone, with collections such as Harmonia d’affetti devoti of 1655, Sentimenti devoti of 1660, Compiete con le Lettanie & Antifone della B.V. of 1662 and Acclamationi divote a voce sola of 1670. On good stylistic and aesthetic grounds, the musicians of Ensemble Zenit have chosen to play a selection of works from these collections on cornet and trombone. They intersperse them with four pieces for organ relating to the composer’s periods of work in in Bergamo, Ferrara, Bologna and Venice. Legrenzi wrote keyboard sonatas himself, but none has come to light, so Ensemble Zenit features four composers who represent each of those four cities: Tarquinio Merula (1595-1665), chapel master in Bergamo until shortly before Legrenzi’s arrival and unquestionably a source of inspiration for the way he structured his Sonate; Luigi Battiferri (1610- 1682), Legrenzi’s predecessor as chapel master at the Accademia dello Spirito Santo in Ferrara; Giovanni Paolo Colonna (1637- 1695), organist in Bologna, and Carlo Francesco Pollarolo (1653-1723), who studied under Legrenzi in Venice and was appointed second organist at St. Mark’s just two months after the death of his teacher in 1690.