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Claudio Monteverdi Quarto Libro Dei Madrigali

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Claudio Monteverdi Quarto Libro Dei Madrigali GCD 920924 Claudio Monteverdi New release information Monteverdi Edition. Spring 2004 Quarto Libro dei Madrigali NOTES (ENG) NOTES (FRA) Nowadays, to speak about the Italian madrigal Parler aujourd'hui du madrigal italien consiste is to speak about La Venexiana. It also means, à parler de La Venexiana. Et aussi, bien of course, speaking of Monteverdi. What better évidemment, à parler de Monteverdi. Où se combination then, than La Venexiana trouverait donc un meilleur alliage que La singing madrigals by Monteverdi? Assuming Venexiana chantant les madrigaux de our responsibility as a specialized label, we Monteverdi ? Assumant notre responsabilité en have decided to create a new collection, the tant qu'éditeurs spécialisés, nous avons décidé Monteverdi Edition, in which we will present de créer une nouvelle collection, la Monteverdi the complete madrigals of the composer from Edition, afin de pouvoir offrir la totalité des Cremona in 2-3 annual volumes through 2006. madrigaux du compositeur de Crémone, que nous présenterons à raison de 2 ou 3 volumes Mantua and Ferrara, the two poles between par an jusqu'en 2006. which the Fourth Book, inaugural disc of this collection, travels, are also emblematic of two Mantoue et Ferrare, les pôles entre lesquels Claudio Monteverdi distinct yet complementary identities: not voyage le Quatrième Livre qui inaugure cette Quarto Libro dei Madrigali, 1603 geographical alone, but lifestyles and ways of collection, sont aussi des emblèmes de deux questioning the reality of feelings as well. As identités distinctes et complémentaires : ce ne La Venexiana never before, the result of Monteverdi’s sont pas seulement des aires géographiques Rossana Bertini, Nadia Ragni, madrigals is an agile dialectic of mais encore des attitudes, des façons de vivre Claudio Cavina, Giuseppe Maletto, metamorphosing gestures, techniques, forms et d’interroger la réalité des sentiments. Jamais Sandro Naglia, Daniele Carnovich and colours. In this musical journey between auparavant, les madrigaux de Monteverdi Claudio Cavina, director Mantua and Ferrara, the equilibrium sought is n’avaient été résolus dans cette dialectique not static. Rather, it is subject to constant mobile et changeante de gestes, techniques, Glossa GCD 920924 variation and recomposing. formes et couleurs. Monteverdi Edition vol. 04 Full-price digipak A little farther on, monody and the basso Un peu plus au-delà, la monodie et la basse continuo await the composer. By the Fifth Book continue attendent le compositeur. Dans le (1605) Monteverdi will allude to these technique Cinquième Livre (1605), Monteverdi leur dédiera Programme more explicitly, clearing the path for radical un clin d’œil plus explicite, ouvrant la voie à changes that will definitively alter the madrigal des changements radicaux destinés à modifier Claudio Monteverdi (1567-1643) and project the genre into the sphere of the le visage du madrigal et projeter pleinement Quarto Libro dei Madrigali new Baroque sensibility. ce genre dans la sphère de la nouvelle expressivité baroque. 01 Ah, dolente partita 02 Cor mio, mentre vi miro 03 Cor mio, non mori? E mori! NOTAS (ESP) NOTIZEN (DEU) 04 Sfogava con le stelle 05 Volgea l’anima mia soavemente Hoy por hoy, hablar del madrigal italiano es In diesen Tagen vom italienischen Madrigal zu 06 Anima mia, perdona hablar de La Venexiana. Y también, por sprechen heißt, von La Venexiana zu sprechen. 07 Che se tu sei il cor mio supuesto, es hablar de Monteverdi. ¿Qué mejor Und natürlich heißt es auch, von Monteverdi 08 Luci serene e chiare combinación, pues, que La Venexiana cantando zu sprechen. Könnte es also eine bessere 09 La piaga c’ho nel core madrigales de Montevedi? Asumiendo nuestra Verbindung geben als von La Venexiana 10 Voi pur da me partite responsabilidad como editores especializados, gesungene Madrigale Monteverdis? Unserer 11 A un giro sol hemos decidido crear una nueva colección, la Aufgabe als spezialisierte Herausgeber 12 Ohimè, se tanto amate Monteverdi Edition, en la que queremos entsprechend haben wir uns entschlossen, eine 13 Io mi son giovinetta presentar la totalidad de los madrigales del neue Reihe ins Leben zu rufen, die Monteverdi 14 Quell’augellin che canta compositor cremonés, que iremos presentando Edition, im Rahmen derer wir bis 2006 die 15 Non più guerra, pietate a razón de 2-3 volúmenes anuales hasta 2006. Gesamtheit der Madrigale des Komponisten aus 16 Sì, ch’io vorrei morire Cremona veröffentlichen wollen. 17 Anima dolorosa Mantua y Ferrara, los polos entre los que viaja 18 Anima del cor mio el Cuarto Libro que inaugura esta colección, Mantua und Ferrara, die Pole, zwischen denen 19 Longe da te, cor mio son también emblemas de dos identidades sich das Vierte Buch bewegt, mit welchem wir 20 Piagne e sospira distintas y complementarias: no sólo áreas diese Reihe beginnen lassen, sind auch geográficas sino también actitudes, maneras Sinnbilder für zwei verschiedene und sich de vivir e interrogar la realidad de los ergänzende Seinsformen, was über die Technical details sentimientos. Nunca como ahora, los madrigales geographische Lage hinaus auch Haltungen, de Monteverdi se resuelven en una dialéctica Lebensweisen und das Befragen der Realität Playing time: 61’10 móvil y cambiante de gestos, técnicas, formas der Gefühle betrifft. In keinem anderen Werk Recorded in Roletto, Italy, in November 2003 y colores. En este viaje musical entre las cortes entstehen die Madrigale wie hier in einer derart Engineered by Davide Ficco de Mantua y Ferrara, el equilibrio a alcanzar bewegten Dialektik wechselnder Gesten, Produced by Sigrid Lee & La Venexiana no es fijo sino que está sometido a continuas Techniken, Form- und Koloritgebungen. variaciones y recomposiciones. Essay by Stefano Russomanno Eine kleine Wegstrecke weiter warten Monodie Italian, English, French, Spanish, German Un poco más allá, le esperan al compositor la und Generalbass auf den Komponisten. Bereits monodia y el bajo continuo. Ya en el Libro im Fünften Buch (1605) wird Monteverdi sich Quinto (1605), Monteverdi les hará un guiño ihnen mit einem noch expliziteren Zwinkern más explícito, abriendo el paso a cambios nähern, und so tiefgreifenden Veränderungen radicales destinados a modificar la cara del den Weg bahnen, die dazu bestimmt sein madrigal y proyectar de pleno al género en la werden, das Wesen des Madrigals zu verändern, esfera de la nueva expresividad barroca. und das Genre ganz der Sphäre neuer barocker Ausdruckskraft einzuverleiben. www.glossamusic.com/monteverdiedition La Venexiana Claudio Cavina ABOUT THE ARTIST À PROPOS DE L’ARTISTE The name “La Venexiana” is taken from an Le nom de «La Venexiana» provient d’une anonymous Renaissance comedy, one of the comédie anonyme de la Renaissance, qui est cardinal points of reference in Italian theatre l’une des références cruciales du théâtre italien, both for its use of language, a combination of aussi bien pour l’utilisation de la langue –une Italian and dialect, and for its acute rendering combinaison d’italien et de dialecte– que pour of a society and its manners. In styling itself la représentation fidèle d’une société et de ses after this glorious tradition, La Venexiana aims coutumes. S’inspirant de cette glorieuse to incorporate into its musical interpretations tradition, La Venexiana incorpore à son an attention to language in all of its subtlety, interprétation un traitement exquis du langage and an exultation of contrasts between the en tentant de capter toute sa subtilité et refined and the popular, the sacred and the d’exprimer les contrastes entre le monde érudit profane. This ensemble has established a new et populaire, entre le sacré et le profane. Cet style in Italian early music performance: a ensemble a établi un nouveau style warm, truly Mediterranean blend of textual d’interprétation de la musique ancienne declamation, rhetorical colour and harmonic italienne: une fusion chaude, profondément refinement. Born of the collaboration between méditerranéenne, de l’art de la déclamation Other CDs by La Venexiana: soprano Rossana Bertini and countertenor des textes, de la couleur rhétorique et du Claudio Cavina, its current musical director, La raffinement harmonique. Giaches de Wert Venexiana makes a careful use of the original La Gerusalemme Liberata (Madrigali) sources, keeping the activity of the ensemble La Venexiana enregistre en exclusivité chez GCD 920911 always stimulating and full of enjoyable Glossa depuis 1998. Après une collaboration surprises. de 6 ans et 10 CDs réalisés par notre maison Monteverdi live ! discographique, la critique musicale est unanime A selection of madrigals by Claudio Monteverdi Since 1998, La Venexiana records exclusively à considérer La Venexiana comme le plus grand GCD P30912 for Glossa. After 6 years with our label and 10 spécialiste du madrigal italien. Cette situation CDs, the musical press has demonstrated its se reflète aussi dans l’incessante moisson de Claudio Monteverdi unanimity in considering La Venexiana the prix internationaux, entre lesquels brillent d’un Terzo Libro di Madrigali, 1592 greatest specialists in the area of the Italian éclat particulier le Prix Gramophone et le Cannes GCD 920910 madrigal. This opinion is also reflected by the Classical Award. steady flow of international prizes the group is Gesualdo da Venosa receiving, among which stand out the Il Quarto Libro di Madrigali, 1596 Gramophone Award and the Cannes Classical GCD 920907 Award. Luca Marenzio Il Sesto Libro di Madrigali, 1594 ACERCA DEL ARTISTA ZUM KÜNSTLER GCD 920909 El
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