Caccini: Le Nuove Musicale

Caccini: Le Nuove Musicale
Ricercare Antico, Riccardo Pisani
Brilliant Classics, 95794. 66’41

Giulio Caccini (1551-1618) was a Florentine singer, instrumentalist and writer. He was one of the first to establish the stile recitativo that formed the basis of Baroque-era opera. His Le Nuove Musicale (or Musiche) of 1602 explored the use of solo voice and continuo bass in what was to be referred to the following year (in Artusi’s 1603 Seconda Parte dell’Artusi), as the Seconda pratica. Caccini’s introduction to Le Nuove Musicale outlines the move from the Renaissance ideas of polyphony and counterpoint to the monodic style of the Baroque, with examples of the manner of adding ornaments to reflect the emotional expression of the text, in the affetto cantando style. Continue reading

Anime Amanti

Anime Amanti
Roberta Mameli, Luca Pianca
Alpha Classics ALPHA291. 68’16

Anime Amanti

Songs by Monteverdi, Caccini, Strozzi, d’India, Merula. Pianca

The opening Lamento di Arianna, the only surviving part of Monteverdi’s opera L’Arianna. sets the scene for a beautifully performed programme of music from the earliest days of opera. Roberta Mameli’s evocative and rich vocal timbre is an ideal vehicle to display the extraordinary range of emotions depicted in this sensuous music. Her coherence of tone over a very wide range aligns with effective control of her natural vibrato, notably on long-held notes where she uses gentle vibrato as an ornament. She is very well supported by the impressively restrained theorbo playing of Luca Pianca.

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`Li Due Orfei: Caccini & Peri

Li Due Orfei: Caccini & Peri
Marc Mauillon & Angélique Mauillon
Arcana A393. 57’12

Recordings Mauillon Cover 916Giulio Caccini and Jacopo Peri were musical assistants to Emilio de’ Cavalieri for the famed celebrations for the Florentine marriage of Ferdinand de’ Medici and Christine de Lorraine. In the resulting La Pellegrino, they helped to develop a new style of singing, based on earlier concepts of singing in what was thought to be the style of Orpheus. This emphasised the declamatory solo voice in what became known as the stile rappresentativo, accompanied by a simple basso continuo, based on Orfeo’s lyre, here realised by Angélique Mauillon on a triple harp by Somerset luthier Simon Capp, after early 17th century Italian models. This recording explores the later work of the two composers, with an emphasis on the music of Caccini, with 12 examples compared to the five from Peri, together with three instrumental harp interludes by Luzzaschi and Piccinini. Continue reading