L’Amorosa Caccia. 24 Five-voice Madrigals by Mantuan Masters (Venezia 1588/1592)
- Editor: Stefania Lanzo
- Publisher: Ut Orpheus
- Code: ODH 35
- In Stock
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€ 37.95
“L’amorosa caccia” is a collection of 24 madrigals for five voices, created specially by as many composers originating from Mantua. All were distinguished professional people, working within the church, at court or in the Palatine basilica of Saint Barbara, and music lovers of noble birth from the area who were somehow connected to the Academy of the Invaghiti, or perhaps part of the same. Among the established musicians of the collection are to be mentioned: G.M. Bacchino, H. Baccusi, P. Cantino, A. Coma, G. Moro, S. Nascimbeni, A. Nuvoloni, N. Parma, G.B. Recalchi, F. Rovigo, A. Striggio, R. Trofeo. The lesser-known, however, seem to be: C. Accelli, E. Ceruti, S. Cressoni, P. Marni, A. Preti, while the following: H. Borelli, C. Ceruti, O. Grassi, P. Massari, G.B. Orto, F. Ramesini, C. Zucca have become known as composers only thanks to “L’amorosa caccia”.
The realization in score of the madrigals has made it possible to bring to light this collection, establishing its actual musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer. If some of them have proved to be completely in line with the practices of the time, verging on Augenmusik, others stand out for the wide variety of their harmonies, melodies and rhythms, seeking the best musical expressions to express the affetti contained in the text.
There are no major breakthroughs, but, if the contrapuntal procedures are as to be expected, the body of voices, the experimentation, the interplay between the parts and the harmonic sensitivity show familiarity with the vocal virtuosity of the “concerti di dame” of Ferrara and Mantua, bringing out what was most modern at the time. The possibility that these madrigals may actually have been performed by that very group of talented singers is enchanting and entirely plausible.
The realization in score of the madrigals has made it possible to bring to light this collection, establishing its actual musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer. If some of them have proved to be completely in line with the practices of the time, verging on Augenmusik, others stand out for the wide variety of their harmonies, melodies and rhythms, seeking the best musical expressions to express the affetti contained in the text.
There are no major breakthroughs, but, if the contrapuntal procedures are as to be expected, the body of voices, the experimentation, the interplay between the parts and the harmonic sensitivity show familiarity with the vocal virtuosity of the “concerti di dame” of Ferrara and Mantua, bringing out what was most modern at the time. The possibility that these madrigals may actually have been performed by that very group of talented singers is enchanting and entirely plausible.
Editor: Stefania Lanzo
Publication Date: 10/31/2014
Pages: pp. 144
Size: 230x310 mm
Binding: Paperback (Soft Cover)
ISMN: 979-0-2153-2257-8
Code: ODH 35
Rivista Italiana di Musicologia, LIII - 2018
... La trascrizione effettuata da Lanzo corrisponde alla collazione tra le edizioni del 1588 e quella conservata a Londra del 1592. Le composizioni vengono proposte secondo l’ordine presente nella prima edizione del 1588. Le musiche non risentono di innovazioni particolari, come evidenzia l’autrice; tuttavia alcuni madrigali si distinguono per varietà di situazioni armoniche, melodiche e ritmiche, volte alla ricerca della resa musicale più adatta ai significati testuali. La messa in partitura dei madrigali consente oggi di far apprezzare il valore musicale della raccolta restituendo una preziosa testimonianza documentaria di musica rinascimentale. (Angela Fiore)
... La trascrizione effettuata da Lanzo corrisponde alla collazione tra le edizioni del 1588 e quella conservata a Londra del 1592. Le composizioni vengono proposte secondo l’ordine presente nella prima edizione del 1588. Le musiche non risentono di innovazioni particolari, come evidenzia l’autrice; tuttavia alcuni madrigali si distinguono per varietà di situazioni armoniche, melodiche e ritmiche, volte alla ricerca della resa musicale più adatta ai significati testuali. La messa in partitura dei madrigali consente oggi di far apprezzare il valore musicale della raccolta restituendo una preziosa testimonianza documentaria di musica rinascimentale. (Angela Fiore)
The Consort Magazine (Summer 2016)
... The volume includes 24 madrigals by 24 different composers originating from the Mantua region during the late-sixteenth century; many of them are concerned with the theme of Diana, goddess of the hunt, the moon and childbirth. The madrigals are laid out in a clear, attractive format (the pages being slightly larger than A4), which is easy to hold and perform from, provided that the ensemble is, as is assumed, an unaccompanied vocal group. ... this is a very usable edition containing attractive madrigals, all of which deserve to be better known. (Peter Leech)
... The volume includes 24 madrigals by 24 different composers originating from the Mantua region during the late-sixteenth century; many of them are concerned with the theme of Diana, goddess of the hunt, the moon and childbirth. The madrigals are laid out in a clear, attractive format (the pages being slightly larger than A4), which is easy to hold and perform from, provided that the ensemble is, as is assumed, an unaccompanied vocal group. ... this is a very usable edition containing attractive madrigals, all of which deserve to be better known. (Peter Leech)
Damiani, Andrea Metodo per Liuto Rinascimentale
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