Discovery of Passion 1 SALOMONE ROSSI (1570–C
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DOROTHEE OBERLINGER DMITRY SINKOVSKY ENSEMBLE 1700 Discovery of Passion 1 SALOMONE ROSSI (1570–c. 1630) 14 GIOVANNI SPADI (17th century) Sinfonia 11 in Eco 1’26 »Ancor che col partire«. Diminutions on Cipriano de Rore’s Madrigal 4’07 From: »Sinfonie et gagliarde, Libro 1« (Venice 1607) From: »Libro de passaggi ascendenti et descendenti« (Venice 1624) recorder, violin, continuo lute 2 DARIO CASTELLO (1602–1631) 15 GIROLAMO FRESCOBALDI (1583–1643) Sonata Prima à due Soprani, introduced by a prelude (harpsichord) 5’18 Canzona detta la Bernardinia 3’29 From: »Sonate concertate in stil moderno per sonar nel organo overo spineta con diversi From: »Canzoni da sonare a una, due, tre et quattro libro primo« (Rome 1628) Instrumenti a 2 & 3 voci« (Venice 1621) recorder, organ recorder, violin, continuo 16 MICHELANGELO ROSSI (1602–1656) 3 GIOVANNI BASSANO (1558–1617) Toccata Settima 4’40 Ricercata terza 2’26 From: »Toccate e Corenti d’intavolatura d’organo e cimbalo« (Rome 1657) From: »Ricercate passaggi et cadentie, per potersi essercitar nel diminuir terminatamente harpsichord con ogni sorte d’istrumento: et anco diversi passaggi per la semplice voce« (Venice 1585) recorder 17 TARQUINIO MERULA »Folle è ben che si crede« 3’57 4 TARQUINIO MERULA (1595–1665) From: »Curtio Precipitato et altri Capricii Composti in diversi modi vaghi e leggiadri Ciaconna 3’23 à voce sola. Libro secondo« op. 13 (Venice 1638) From: »Canzoni overo sonate concertate per chiesa e camera« (Venice 1637) countertenor, recorder, continuo recorder, violin, continuo 18 MARCO UCCELLINI (1603–1680) 5 GIOVANNI BATTISTA VITALI (1632–1692) Aria Quinta »sopra la Bergamasca« 4’20 Passa Galli 2’19 From: »Sonate, arie et correnti a 2. e. 3. per sonare con diversi instromenti« op. 3 From: »Partite diverse sopra diverse Sonate per il Violone« (Ms. Bologna) (Venice 1646) cello, continuo recorder, violin, continuo 6 GIOVANNI PAOLO CIMA (c. 1575–1630) Sonata à 4 3’34 total time: 75’12 From: »Concerti ecclesiastici … & sei sonate, per instrumenti a due, tre, e quatro … con la partitura per l’organo (Milan 1610) recorder, violin, cello, continuo 7 PIETRO PAOLO MELLI (1579–1623) Capriccio cromatico 2’39 From »Intavolatura di liuto attiorbato libro quintpo« (Venice 1620) lute 8 CLAUDIO MONTEVERDI (1567–1643) »Sì dolce è’l tormento« 4’11 From: »Quarto scherzo delle ariose vaghezze« (Venice 1624) countertenor, recorder, continuo 9 CLAUDIO MONTEVERDI Dorothee Oberlinger, recorders »Hor che’l ciel« (arr. for recorder and continuo by Maximilian Volbers) 6’25 From: »Il ottavo libro de Madrigali – Canti guerrieri et amorosi« (Venice 1638) Dmitry Sinkovsky, countertenor & violin recorder, continuo Marco Testori, cello 10 TARQUINIO MERULA Luca Pianca, archlute La Catterina 3’42 Jeremy Joseph, harpsichord & chest organ From: »Canzoni overo sonate concertate per chiesa e camera«, op. 12 (Venice 1637) recorder, violin, continuo 11 GIOVANNI BATTISTA FONTANA (c. 1571–1630) Sonata seconda 8’09 From: » Sonate a 1. 2. 3. per il violino, o cornetto, fagotto, chitarone, violoncino o simile Instrumentarium altro istromento« (Venice 1641) soprano recorder in c´´ after early baroque models by Andreas Schwob, Luzern 2012 violin, continuo soprano recorder in c´´ after Ganassi by Andreas Schwob, Luzern 2015 12 CLAUDIO MONTEVERDI alto recorder in g´ after Ganassi by Monika Musch, Freiburg 2018 »E pur’io torno«. 5’34 alto recorder in g´ after Ganassi by Andreas Schwob, Luzern 2015 From: »L’incoronazione di Poppea« (Venice 1642) alto recorder in f ´ after Ganassi by Andreas Schwob, Luzern 2014 countertenor, recorder, violin, continuo tenor recorder in c after Schnitzer in c´´ by Monica Musch, Freiburg 2008 violin by Francesco Ruggieri, Cremona 1675, made available for Dmitry Sinkovsky 13 FRANCESCO ROGNONI (1570–1626) by Jumpstart jr. foundation (Amsterdam) »Io son ferito«. Diminutions on Giovanni Pierluigi da Palestrina’s Madrigal 5’29 cello by a member of Panormo family, London c. 1820 From: »Selva de varii passaggi secondo l’uso moderno per cantare e suonare con ogni archlute by Luc Breton, Vaux-sur-Morges 1988 sorte di stromenti« (Milan 1620) harpsichord by Matthias Griewisch after a model by Aelpidius Gregori, Rom c.1700, Bammental 1992 recorder, harpsichord chest organ by Daniel Pfiib after Italian models, Prag 2013 2 THE DISCOVERY OF THE PASSIONS first true, fully-fledged opera. Throughout his three decades in Venice, he continued to focus on vocal music – not just sacred works but also his late books of madrigals as well as his ope- By the years around 1600 music was at a crossroads. This was true of many places but espe- ras. cially of Italy’s cultural centres of Florence, Ferrara, Venice, Rome and Naples, where artists In Mantua Salamone Rossi was arguably Monteverdi’s most important colleague among the and theorists were working on a fundamental reinvention of the language of music, which musicians at the ducal court. Rossi was a member of the local Jewish community and was from now on was to be as directly expressive as possible: passions such as love and hate, active at the liberal court as a violinist and as a composer. In his Sinfonia a tre in eco he trans- sadness and joy, astonishment and desire, all of which were to be catalogued and dissected lates the natural phenomenon of the echo into the language of music by means of imitative in detail half a century later by the French philosopher René Descartes in Les Passions de divisions. l’âme, were no longer to serve merely as a composer’s conceptual starting point. It was now Meanwhile, back at St Mark’s, Dario Castello almost certainly played an important role also a question of evoking these passions in audiences and making listeners “compassiona- among Monteverdi’s virtuoso instrumentalists, and yet a search of lists of Venetian musicians te” in the literal sense of the term by means of a composer’s melodic and harmonic writing. reveals no instances of “Dario” as a first name. Among the musicians whom we do find here And this was to be true even in purely instrumental music, where there was no correspon- are the trombonist and violinist Francesco Castello, whom Heinrich Schütz lured away to ding textual basis: the detailed structure of the new kind of sonatas and canzonas offered the Dresden court in 1628, and a Giovanni Battista Castello, who played the violin and soloists more scope for the dramatic depiction of emotions that explored the whole gamut bassoon. It is assumed that he is the author of the two-volume collection of Sonate concer- of affects from despair to raging fury. There were no longer any limits to what the rhetori- tate in stil moderno for two melody instruments and continuo, which appeared in 1629 and cal imagination could achieve through novel musical resources ranging from sustained, sus- 1640 under the alias of “Dario”. (Perhaps the name was chosen because Giovanni Battista pension-based dissonances to breathtakingly rapid runs. was otherwise an extremely common one at this time.) These editions contain frequent spe- cific instructions on the particular instrumental resources to be used in the individual parts, The present recording explores this turning point in the history of music, when the Renais- a novel feature at this period. His Sonata prima à due soprani from the 1629 volume additio- sance gave way to the Baroque, and it does so through a kaleidoscope of newly conceived nally offers a rollercoaster of emotions scored for an unspecified trio of instruments. and experimental declamatory works in which light and shade keep shifting within the nar- Giovanni Battista Fontana hailed from Brescia – another town with a long history of violin- rowest possible confines. At the same time our gaze is occasionally directed backwards to making – and demonstrated his artistry on the violin in Rome, Padua and Venice. Our the magnificent art of diminution that sixteenth-century performers employed to transcribe knowledge of his life comes almost entirely from the preface to his Sonate a 1. 2. 3. per il vio- vocal music and arrange it for instruments, something they did with great passion and vir- lino, o cornetto, fagotto, chitarone, violoncino o simile altro istromento, which he bequeathed tuosity. to Santa Maria delle Grazie in Venice shortly before his death in 1631 and which appeared In the years around 1600, Venice was a crucible for the ideas of the musical avant-garde in posthumously in 1641. The first six sonatas in the collection were scored for solo violin and Italy. In a wider sense, it was a leading centre of commerce whose artisans included some of continuo. Their emotionally charged and rhetorical style reveals the influence of Monteverdi. the most capable engravers of printed music at this period, while in the narrower sense it was One particular recipe for success that has lost none of its modernity was created by those a municipal republic centred both politically and spiritually on St Mark’s Basilica, which had seventeenth-century composers who used ostinato models, developing their variations over at its disposal a magnificent orchestra made up of outstanding singers and instrumentalists. a harmonic pattern which, endlessly repeated, was generally based on a mere handful of bass The second half of the sixteenth century was notable for the incumbency of two visionary notes. Giovanni Battista Vitali, a native of Bologna who for many years was a leading musi- composers, Andrea and Giovanni Gabrieli, as organists at St Mark’s, but scarcely less cian at the Este court in Modena, wrote one of the earliest pieces for a solo bass instrument: remarkable was the leading role played by the violinist and cornettist Giovanni Bassano. his Passa Galli is scored for violone and continuo. Published in 1585, his manual on the art of ornamentation, Ricercate, passaggi et cadentie per potersi essercitar nel diminuir is one of the earliest instruction manuals on how to embellish a A particularly light-hearted ostinato-based piece from Venice is the Ciaconna by the organist piece of vocal music and create a virtuosic instrumental work from it.