Est 1923

Io Canterei d'Amor Chansons and Madrigals for Viol Consort

Record and Artist Details

Composer or Director: Clément Janequin, Orazio Bassani, Andrea Gabrieli, Vincenzo Ruffo, Riccardo Rognoni, Jacques Arcadelt, Cipriano de Rore, Orlande de Lassus, Thomas Crecquillon, Diego Ortiz, Giovanni Bassano

Label: Harmonia Mundi

Media Format: CD or Download

Media Runtime: 59

Mastering:

DDD

Catalogue Number: HMC90 5234

Tracks:

Composition Artist Credit
Madrigals, Book 1 (Il primo libro de madrigali), Movement: Io canterei d'amor (Petrarch) Cipriano de Rore, Composer
Cipriano de Rore, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Madrigals, Book 1 (Il primo libro de madrigali), Movement: None è ch'il duol Cipriano de Rore, Composer
Cipriano de Rore, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Madrigals, Book 1 (Il primo libro de madrigali), Movement: Non gemme non fin oro Cipriano de Rore, Composer
Cipriano de Rore, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Madrigals, Book 1 (Il primo libro de madrigali), Movement: Signor mio caro (Petrarch) Cipriano de Rore, Composer
Cipriano de Rore, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
(Il) Primo libro de Madrigali, Movement: O felic' occhi miei Jacques Arcadelt, Composer
Jacques Arcadelt, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Trattado de glosas, Movement: O felici occhi miei Diego Ortiz, Composer
Diego Ortiz, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
O felici occhi miei Vincenzo Ruffo, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Vincenzo Ruffo, Composer
Motetti, madrigali et canzone francese di diversi, Movement: Non è ch'il duol (Rore) Giovanni Bassano, Composer
Giovanni Bassano, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Martin menoit son porceau Clément Janequin, Composer
Clément Janequin, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Martin menoit Vincenzo Ruffo, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Vincenzo Ruffo, Composer
Canzoni alla francese, Book 5, Movement: Martin menoit (on Janequin's chanson) a 4 Andrea Gabrieli, Composer
Andrea Gabrieli, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Canzoni alla francese, Book 5, Movement: Susanne un jour (on Lassus's chanson) Andrea Gabrieli, Composer
Andrea Gabrieli, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Ricercari, Book 3, '(Il) Terzo libro de ricercari', Movement: Anchor che co'l partire (on Rore's madrigal) Andrea Gabrieli, Composer
Andrea Gabrieli, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Ancor che col partire Riccardo Rognoni, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Riccardo Rognoni, Composer
Susanne un jour Orlande de Lassus, Composer
Labyrinto
Orlande de Lassus, Composer
Paolo Pandolfo, Viola da gamba
Vergine bella Cipriano de Rore, Composer
Cipriano de Rore, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
(Un) Gay berger Thomas Crecquillon, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Thomas Crecquillon, Composer
Canzoni alla francese, Book 6, Movement: Ung gay bergier a 4 (on Crecquillon's chanson) Andrea Gabrieli, Composer
Andrea Gabrieli, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
(Il) Bianco e dolce cigno Jacques Arcadelt, Composer
Jacques Arcadelt, Composer
Labyrinto
Paolo Pandolfo, Viola da gamba
Much of the earliest instrumental music was based on vocal models – lack of original repertory had a good deal to do with it – and together with the forms the practice of embellishment was also inherited. Many sixteenth-century instrumental treatises offered both instruction in the art of embellishment and fully worked examples. Elaborated instrumental versions of chansons, motets and madrigals were also published by other than their original composers. The transmutation of these works to instrumental media opened up fresh possibilities, one of which was for one instrument to spin lines that traversed more than one vocal compass, to which the viola da bastarda was eminently suited; such variations are also be found in the lute music of the time.
Labyrinto’s programme gives an overview of the field, with love-songs as its central theme. Some are given in their unadorned forms, with viols for voices, others are presented also in embellished versions. Two of the latter are taken from Capricci... a commodo di virtuosi (1564) and they are not the only ones to justify that title; the two in which the viola bastarda is designated demand the virtuosity one associates with a concerto soloist and emerge as passionate outpourings, with no trace of technical strain. Indeed, Labyrinto play throughout with an expressive freedom, sensitivity to dynamics and nuance, and intensity that are rarely on offer from viol consorts. Dryness and the cautious watching of Ps and Qs are happily foreign to their nature. It’s a long time since I have heard such an enjoyable recording by a viol consort. Recommendable without reservation.'

Io Canterei d'Amor Chansons and Madrigals for Viol Consort

Madrigals, Book 1 (Il primo libro de madrigali), Movement: Io canterei d'amor (Petrarch)

Madrigals, Book 1 (Il primo libro de madrigali), Movement: None è ch'il duol

Madrigals, Book 1 (Il primo libro de madrigali), Movement: Non gemme non fin oro

Madrigals, Book 1 (Il primo libro de madrigali), Movement: Signor mio caro (Petrarch)

(Il) Primo libro de Madrigali, Movement: O felic' occhi miei

Trattado de glosas, Movement: O felici occhi miei

O felici occhi miei

Motetti, madrigali et canzone francese di diversi, Movement: Non è ch'il duol (Rore)

Martin menoit son porceau

Martin menoit

Canzoni alla francese, Book 5, Movement: Martin menoit (on Janequin's chanson) a 4

Canzoni alla francese, Book 5, Movement: Susanne un jour (on Lassus's chanson)

Ricercari, Book 3, '(Il) Terzo libro de ricercari', Movement: Anchor che co'l partire (on Rore's madrigal)

Ancor che col partire

Susanne un jour

Vergine bella

(Un) Gay berger

Canzoni alla francese, Book 6, Movement: Ung gay bergier a 4 (on Crecquillon's chanson)

(Il) Bianco e dolce cigno

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