Giulia Genini / Concerto Scirocco -Sirens & Soldiers -Arcana CD Grooves.land/Playthek

Details / Tracklist:

01. "Canzon Undecima detta "La Fontana" op. 9"

02. "Canzon XXIX super Cantionem Gallicam ("Est-ce Mars") a 5 SSWV 67"

03. "Contrapunto sopra "Liquide perle" per sonare insieme"

04. "Sonata sopra "La Monica""

05. "Canzon Decima Ottava "La Cavagliera" op. 4"

06. "Symphonia Trigesima Quarta "A gran battaglia" op. 4"

07. "Canzon Decima Sesta sopra "La Monica""

08. "Sonata Prima detta "La Moderna" op. 12"

09. "Canzon ? 3"

10. "Sonata Quinta ? tre op. 1"

11. "Aria Decima Terza sopra "Questa bella sirena" op. 4"

12. "Canzon Decima a 6 op. 8"

13. "Fantasia detta "La Portia""

14. "Sonata sopra l'Aria di Ruggiero op. 12"

15. "Ballo delle Ombre op. 22 Nr. 9"

16. "Ciaccona"

Number of discs:

Description:

â??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 instrumentâ?. This concept, which was explained by Silvestro Ganassi in his Opera intitulata La Fontegara already in 1535, has inspired Concerto Scirocco to seekÂ 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.Â InÂ this, itsÂ fifth, recording, Concerto Scirocco focuses on an early baroque anthology of pieces, â??painting in notesâ? a number of musical portraits full of contrasts:Â the pulsating rhythm of the battle in theÂ Symphonia â??AÂ granÂ battagliaâ?,Â theÂ beguilingÂ mermaids in Marco Uccelliniâ??sÂ Aria sopraÂ â??Questa bella Sirenaâ?,Â or the operatic tension in theÂ Sonata aÂ treÂ by Francesco Cavalli. -

"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, it's 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.

Manufacturer No.:

A565

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