Il FestinoEARLY MUSIC
- Armonía Divina y Humana
- Le Rrintemps revient toujours
- Douce Félicité
- Luzzasco Luzzaschi
- Dove ne vai, Crudele
- José Marín, a tenor at the court of Madrid
- Stefano Landi
- The Spanish Air at the Court of Louis XIII
- The Art of Love
- Gentil caballero
- Villancicos, tonos y canciones
- Galante Europe
Arie da Cantarsi
Singer, harpist, guitarist and organist, Stefano Landi was not just an outstanding musician but also had a solid training in rhetoric and philosophy, as witness his studies from 1599 at the Roman Seminary. In 1618 he was serving as maestro di cappella at the court of the Bishop of Padua. In 1629 he entered the service of Francesco Barberini and was engaged as a singer in the pontifical chapel choir. His output of sacred music included motets, psalms and masses, as well as the musical drama Il Sant’Alessio, performed on 2 March 1631 in the Palazzo Barberini in Rome. His secular works included polyphonic madrigals and arias for solo voice, published in eight volumes between 1620 and 1639. Unfortunately only three of these collections have survived. The apparent simplicity of these arias conceals a veritable treasure trove: light-hearted or meditative texts on the human condition, flowing melodies full of charm, dissonances and harmonic superimpositions, recitative style and ornamented couplets – everything that defines the seconda prattica is here.
The arrangement of these arias is a fascinating challenge for any musician interested in this repertoire. The role of the instruments is key, ranging from harmonic support to improvisation of countermelodies, as Agostino Agazzari recommends in his treatise published in 1607 (which Landi probably encountered during his studies in Rome).
Dagmar Saskova voice
Francisco Javier Mañalich voice & viola
Ronald Martin Alonso viola
Philippe Grisvard harpsichord
Manuel de Grange lute, theorbo, guitar & direction
Denis Morrier, Diapason, juin 2015
[...] Francisco Javier Manalich, son éloquence pleine de séduction [...] Le timbre pénétrant de la soprano Dagmar Saskova donne consistance et émotion à chacune de ses interventions [...] duos inédits et captivants, détaillant ces précieuses miniatures avec un art raffiné, qui partout fait mouche.
Arie da cantarsi
Dagmar Saskova chant
Francisco Javier Mañalich chant & viole de gambe
Ronald Martin Alonso viole de gambe & lyrone
Philippe Grisvard clavecin
Manuel de Grange luth, théorbe, guitare & direction
This recording takes us inside the palaces of early 17th-centrury Rome and presents a fascinating array of compositions that served as background to the lives of the contemporary aristocracy. As well as pieces by Stefano Landi, there are vocal and instrumental works by Girolamo Frescobaldi and Johann Hieronymus Kapsberger, two musicians who shared with Landi the patronage of the Barberini family.
Stefano Landi was a musician who throughout his career was able to develop and significantly alter his compositional style, adapting to his environment. As with many other composers of his generation, his language was initially modelled on Renaissance polyphony before evolving towards solo vocal models intended to suit both chamber and operatic contexts, opera being a genre to whose creation he contributed.
Stefano Landi - Arie da Cantarsi: V'amai se voi m'amaste
Teaser of Il Festino - Stefano Landi - Arie da Cantarsi: V'amai se voi m'amaste
Dagmar Saskova: vocal
Francisco Javier Mañalich: vocal & viola da gamba
Ronald Martin Alonso: viola da gamba
Philippe Grisvard: harpsichord
Manuel de Grange: lute, theorbo, guitar and direction
Ut Pictura - Manuel Mohino