“Just as the worthy and skilled painter imitates all things created in nature by varying the colours, in the same way you can imitate the expression made by the human voice on a wind and stringed instrument”. This concept, which was explained by Silvestro Ganassi in his Opera intitulata La Fontegara already in 1535, has inspired Concerto Scirocco to seek the maximum expression when interpreting the instrumental music of the 16th and 17th centuries. Hand in hand with the development of the instrumental repertoire, rhetoric became the link between instrument and voice, between imitation and reality. Where words were lacking, composers and instrumentalists used rhetoric to delight listeners just as singers did.
In this, its fifth, recording, Concerto Scirocco focuses on an early baroque anthology of pieces, “painting in notes” a number of musical portraits full of contrasts: the pulsating rhythm of the battle in the Symphonia “A gran battaglia”, the beguiling mermaids in Marco Uccellini’s Aria sopra “Questa bella Sirena”, or the operatic tension in the Sonata a tre by Francesco Cavalli.
YB: https://youtu.be/0hhNRuuexoI
Works:
•Tarquinio Merula: Canzon Undecima detta "La Fontana":
• Tarquinio Merula: Canzon Decima Ottava "La Cavagliera":
• Samuel Scheidt: Canzon XXIX super Cantionem Gallicam:
• Giovanni Antonio Terzi: Contrapunto sopra "Liquide perle":
• Philipp Friedrich Böddecker: Sonata sopra "La Monica":
• Marco Uccellini: Symphonia Trigesima Quarta "A gran battaglia":
• Marco Uccellini: Aria Decima Terza sopra "Questa bella sirena":
• Ottavio Bargnani: Canzon Decima Sesta sopra "La Monica":
• Salomone Rossi: Sonata Prima detta "La Moderna":
• Salomone Rossi: Sonata sopra l'Aria di Ruggiero:
• Francesco Cavalli: Canzon:
• Marco Antonio Ferro: Sonata Quinta:
• Biagio Marini: Canzon Decima:
• Andrea Falconieri: Fantasia detta "La Porta":
• Maurizio Cazzati: Ballo delle Ombre:
• Johann Heinrich Schmelzer: Ciaccona