Francesco Provenzale (1624–1704)
Squarciato appena havea, Lamentokantate
Lamento di marinetta Moglie di Massaniello
Care selve, amati orroi

Gregorio Strozzi (1615–1687)
Toccata de Passacagli, e ciascheduno può sonarsi à solo
Mascara Sonata, e ballata da più
Cavalieri Napolitani, nel Regio Palazzo
Balletto primo
Corrente Settima, e per Organetti, ò Flauti

Antonio Valente (?1520-?1580)
Gagliarda Napolitana

Andrea Falconieri (1586-1656)
Battalla de Baraboso yerno de Satana

Echo du Danube

Hannah Morrison, soprano
Elisabeth Seitz, salterio
Martin Jopp, violon
Elisabeth Wiesbauer, violin
Reinhild Waldek, harpe baroque
Thomas Boysen, Luth, guitare baroque
Anne Marie Dragosits, clavecin
Michele Claude, percussion
Christian Zincke, viole de gambe, direction

On sait que le XVIIème siècle fut fécond en Lamentations au point d’en faire un genre. Le plus illustre compositeur napolitain de la seconde moitié du siècle, Francesco Provenzale (1624-1704), dont on sort de l’oubli Passion et opéras depuis deux décennies, ne dérogea pas à cette mode. Ici trois "Lamenti", qui occupent deux tiers du disque (ne pas tenir compte des indications fantaisistes du livret qui donne pour chaque plage 12’19, durée de la seule première cantate), sont de façon heureuse entrecoupés de danses d’un contemporain (Gregorio Strozzi). Des danses de compositeurs du siècle précédent (Valente, Falconieri) ouvrent et ferment le disque. De ces longs monologues où alternent récitatifs et airs, la voix pure, l’expression sensible et nuancée de la soprano Hannah Morrison fait merveille d’autant que l’ensemble Echo du Danube fait corps avec son chant. Les parties narratives, les dialogues ou plaintes solitaires trouvent toujours une interprétation appropriée. Les qualités de l’enregistrement rendent pleinement justice aux interprètes de cet ensemble encore jeune. Le résultat est admirable en tous points. Alors, amoureux de Lamenti baroques, n’hésitez pas: ce disque est pour vous ! (Bruno Fargette)

Since its founding in 1999 Écho du Danube has met with enthusiastic responses from audiences at festivals and concerts at home and abroad. The ensemble’s programs often include rediscoveries based on intensive research and work in libraries. The ensemble regards this work, often exciting as well as laborious, as an important aspect of its musical existence and as the source of new inspiration. The ensemble formations vary from the duo and trio to twenty persons and more for oratorios, passions, and opera programs. On cpo the ensemble is now offering a multifaceted program featuring composers from Naples and with lavish instrumental resources including the salterio and baroque percussion instruments. During the seventeenth century Naples had been the capital of a Spanish viceroyalty for several generations – which was not without its musical significance. In their compositions Neapolitan virtuosos were inspired by the melancholy elegance of the court ceremonial imported from Madrid and by the fiery temperament of the lute singers who performed on the streets. Along with two of Francesco Provenzale’s most extraordinary contributions to the lamento genre and a chamber cantata by the same composer, contributions to the genres of the battaglia, balletto, and gagliarda by Andrea Falconieri, Gregorio Strozzi, and Antonio Valente are heard. This is spirited and fresh music!