Amanti io vi so dire.
Novello Cupido
Ancor che co´l partire

Le Lacrime di Eros

2006

  1. Amanti io vi so dire. Benedetto Ferrari (1597-1681)
  2. Sonata sopra l’aria di Tordiglione. Salamone Rossi (c.1570-1630)
  3. Gioite, o selve, o venti. Girolamo Frescobaldi (1583-1643)
  4. Damigella tutta bella. Stefano Landi (1590-1639)
  5. Liquide perle Amor. Luca Marenzio (1553-1599)
  6. Liquide perle Amor. Vicente Parrilla / Luca Marenzio
  7. Tocata per B quadro. Francesco Maria Bassani (1620-1622)
  8. Ancor che co´l partire. Richardo Rogniono (c.1555-1620) / Cipriano de Rore
  9. Il son ferito ahi lasso. Giovanni Battista Bovicelli (fl,1594) / Giovanni Pierluigi da Palestrina
  10. Sinfonia Grave. Salamone Rossi (c.1570-1630)
  11. A pie della gran croce. Girolamo Frescobaldi (1583-1643)
  12. Sonata V. Salamone Rossi (c.1570-1630)
  13. Novello Cupi. Biagio Marini (c.1597-1665)
  14. Improvisation about la Ciaccona. Instrumentation & Glossas: Fahmi Alghai

Fahmi Alqhai — Violino da gamba, viola da gamba & direction
Mariví Blasco — Sopran

Juan Sancho — Tenor
Rami Alqhai — Viola da gamba
Vicente Parrilla — Recorder
Ramsés Puente — Violin
Irene Gómez — Viola da gamba
Juan Ramón Lara — Violone
Bárbara Sela — Bassoon
Miguel Rincón — Thiorb and Baroque Guitar
Enrike Solinís — Archlute and Baroque Guitar
Alberto Martínez Molina — Harpsichord
Álvaro Garrido — Percussion

Edition: Sputnik (Jordi Gil)


(…) It is not surprising that this mixture of pain and pleasure became so highly appreciated by mid 17th century Italy, at the same time exultant and prudish, outshining though fading away. According to the Catholic Counter-Reformation ideas, there was no pleasure without guilt, nor delight without punishment. True Love can only be but the reward to soul torturing. Its sweetness increases with the bitterness of previous suffering. Carnal Love is the forbidden drug, hence mysterious and irresistible, ever-lastingly desirable. We will see it served in all possible tastes: delightful in Landi; woeful in Bovicelli; joyful in Frescobaldi; hopeful beyond hope in Monteverdi; piquantly erotic in the image of Mary Magdalene standing by the Cross. (…)

Juan Ramón Lara

PRELUDE AWARD 2009 (NETHERLANDS)

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