Philippe Verdelot: Madrigals For Four Voices

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Release Date: 12th Feb 2021
Catalogue No: PC10422
Label: Pan Classics
Length: 48 minutes

International Classical Music Awards

2022

Nominated - Early Music

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Verdelot: Se l'ardor foss'equale

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Verdelot: Se mai provasti donna

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Verdelot: Gloriar mi poss io donne

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Verdelot: Igno soave

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Verdelot: Io son tal volta (Arr. for String Ensemble)

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Giovanna Baviera, Anna Danilevskaia, Elizabeth Rumsey, Leonardo Bortolotto

Verdelot: Divini occhi sereni

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Verdelot: Trist'Amarilli mia

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Verdelot: Ognor per voi sospiro

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Verdelot: Madonna, qual certezza

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Verdelot: Madonna per voi ardo

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Verdelot: Se dimostrarvi a pieno (Arr. for String Ensemble)

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Giovanna Baviera, Anna Danilevskaia, Elizabeth Rumsey, Leonardo Bortolotto

Verdelot: Si lieta e grata morte

Work length3:24

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Verdelot: Deh perche si veloce

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Verdelot: Quando amor i begli occhi

Work length1:55

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Verdelot: Non vi fidate o simplicetti amanti

Work length1:38

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Verdelot: Con lagrime et sospir (Arr. for String Ensemble)

Work length1:23

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Giovanna Baviera, Anna Danilevskaia, Elizabeth Rumsey, Leonardo Bortolotto

Verdelot: Fuggi, fuggi, cor mio!

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Verdelot: Con soave parlar

Work length2:08

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Verdelot: Passer mai solitario in alcun tetto

Work length2:55

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Verdelot: Benchè'l misero cor (Arr. for String Ensemble)

Work length2:05

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Giovanna Baviera, Anna Danilevskaia, Elizabeth Rumsey, Leonardo Bortolotto

Verdelot: La bella man mi porse

Work length2:00

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Verdelot: Gran dolor di mia vita

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About

Philippe Verdelot played a very important role in the development of the madrigal during the Italian Renaissance. Born in France, he probably moved to Italy at a young age. From 1522 onwards, he held the most important positions in church music in Florence first he was maestro di capella at the Baptistery of Florence Cathedral, and a year later also at the Cathedral itself. After 1530, with the riots surrounding the expulsion of the Medici family and the siege of the city, all biographical traces are lost, and no works created after these events seem to have survived. In the years before, however, Verdelot had initiated important musical developments with his madrigals, which at that time were the most published in Italy. The Ensemble Profeti della Quinta presents a selection of four-part madrigals from an anthology published posthumously (1540, 1565). A special feature of their performance is that each singer reads from the originally notated single voice unlike in a modern score with parts notated one above the other. The musicians must therefore listen to each other much more closely and be able to react spontaneously. This spontaneity can be felt throughout the recording, and takes the listener to the beginnings of the Italian madrigal in a very intense way.

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