Monteverdi: Il Terzo Libro de Madrigali

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With Concerto Italiano we get more chiaroscuro in the tone, a broader canvas and bigger gestures that feel more organic than La Venexiana’s occasionally micromanaged articulation. — Gramophone Magazine, May 2021

Release Date: 20th Nov 2020
Catalogue No: OP30580
Label: Naive
Length: 64 minutes

Gramophone Awards

2021

Shortlisted - Early Music

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Monteverdi: Il terzo libro de madrigali, 1592

Work length1:04:23

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Monica Piccinini, Elena Carzaniga, Sonia Tedla, Maria Chiara Gallo, Francesca Cassinari, Raffaele Giordani, Andrés Montilla, Gabriele Lombardi, Salvo Vitale
Concerto Italiano
Rinaldo Alessandrini

"La giovinetta pianta"

Track length3:16

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"O come è gran martíre"

Track length3:29

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"Sovra tenere erbette e bianchi fiori"

Track length3:08

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"O dolce anima mia, dunque è pur vero"

Track length3:55

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"Stracciami pure il core"

Track length3:28

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"O rossignuol che in queste verdi fronde"

Track length4:39

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"Se per estremo ardore"

Track length3:24

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"Vattene pure, crudel. Vattene pure, crudel, con quella pace"

Track length1:46

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"Vattene pure, crudel. Là tra il sangue e le morti egro giacente [seconda parte]"

Track length2:35

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"Vattene pure, crudel. Poi ch’ella in sé tornò, deserto e muto [terza parte]"

Track length3:45

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"O primavera, gioventù dell’anno"

Track length3:08

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"Perfidissimo volto"

Track length3:44

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"Ch’io non t’ami, cor mio?"

Track length4:22

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"Occhi, un tempo mia vita"

Track length3:14

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"Vivrò fra i miei tormenti. Vivrò fra i miei tormenti e le mie cure [prima parte]"

Track length1:15

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"Vivrò fra i miei tormenti. ma dove, oh lasso me! [seconda parte]"

Track length2:52

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"Vivrò fra i miei tormenti. Io pur verrò là dove sete [terza parte]"

Track length2:37

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"Lumi, miei cari lumi"

Track length2:27

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"Rimanti in pace. Rimanti in pace [prima parte]"

Track length3:31

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"Rimanti in pace. Ond’ei, di morte la sua faccia impressa [seconda parte]"

Track length3:48

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No one knows better than Rinaldo Alessandrini that Monteverdi’s madrigals - to which he has dedicated a major part of his work and recordings over the past thirty years - were above all texts where the music was the servant and not the mistress.

This form of a cappella vocal polyphony, responding sensitively to the inflections of a highly expressive poetry, was born in the full flowering of Renaissance humanism and developed in the 17th Century by composers such as Monteverdi, Marenzio and Gesualdo, before being supplanted by the opera.

As the Italian maestro explains, in the Third Book of Madrigals we can already see how carefully the twenty-five-year-old Monteverdi chooses poetry, by Guarini and Tasso, for example, which is capable of “responding to the needs of the drama, of truth, humanity and emotionality, culminating at the end of his life in the lustrous triumph of his final works.”

Reviews

May 2021

With Concerto Italiano we get more chiaroscuro in the tone, a broader canvas and bigger gestures that feel more organic than La Venexiana’s occasionally micromanaged articulation.

Monteverdi: Il Terzo Libro de Madrigali

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