In stil moderno: Castello, Strozzi & Claudio Monteverdi Academy of Ancient Music Streamedfrom West Road Concert Hall, Cambridge. 14 April 2021
Barbara Strozzi (1619-1677) : L’eraclito amoroso & Lagrime mie Claudio Monteverdi (1567-1643): Et e pur dunque vero & Si dolce e’l tormento Dario Castello (c1602-1631) : Sonate concertante in stil moderno, Libro Secondo
The second in the three-concert series of AAM Live 2021events was initially billed as a farewell to their outgoing Music Director, Richard Egarr, who is now replaced by Laurence Cummings who directed the first of their AAM Live 2021 concerts, reviewed here. Although Egarr may have been an inspiration behind this programme of music from 17th-century Venice, the concert listed two directors, the AAM’s principal violinist Bojan Čičić and keyboard player Steven Devine. They were joined by mezzo Helen Charlston. Continue reading →
Cavalieri Imperiali Zenobi & Sansoni, the great cornetto masters InALTO, Lambert Colson Ricercar RIC419. 64’36
The cornett was the principal solo instrument in the late Renaissance and early Baroque eras, before losing that role to the violin. Its sound closely resembles that of the human voice, to the extent that, in a review, I once referred to a talented young soprano as being “a cornett on legs”. This excellent instrumental recording from InALTO pays tribute to two notable cornett players from the decades on either side of 1600, both of whom were knighted by an emperor.
Mottetti e Canzoni Virtuose
La Guilde des Mercenaires, Adrien Mabire
L’encelade ECL1703. 66’36
The principal interest in this 2018 recording of virtuoso Venetian music is in the choice of organ as accompanying instrument. Most of the programme notes are about the use of the organ in the 16th and 17th century, and its prominence in the repertoire of the time. The important thing, and the factor that sets this recording way above most others of a similar repertoire, is that they use a full-sized ‘church’ organ, rather than those weedy little box ‘continuo’ organ that are nearly always used by early music groups. Continue reading →
La Morte Della Ragione ‘The Death of Reason’ Il Giardino Armonico, Giovanni Antonini Outhere Music. ALPHA 450. CD Book. 73’07
La Morte della Ragione (The Death of Reason) is the sort of recording that may require you to put on a seat belt before listening. Under the banner of Petrarch’s comment that “Senses reign, and Reason is dead” Il Giardino Armonico take us on a whistlestop tour through a sizeable chunk of early music history. The choice of descriptor is deliberate, as it is also very obviously a showcase for the virtuoso recorder playing of director Giovanni Antonini, which dominates much of the programme and comes vey close to be too clever by half.
Dario Castello: Sonate Concertate in Stil Moderno, Libro Primo 1621
Academy of Ancient Music, Richard Egarr
AAM Records AAM005. 68’39
Sonatas 1-12: for two violins; violin and cornetto; violin and violetta; violin and trombone; cornetto and violetta; violin and dulcian; cornetto, violin and dulcian; two violins and dulcian; two violins and trombone.
Very little is known about Dario Castello. His birth and death dates are unknown, but are possibly something like 1590-1660. His two volumes of Sonate concertate were published in Venice in 1621 and 1629. The prefaces of his two volumes suggest that he was on the musical staff of San Marco under Monteverdi, and also leader of a group of piffari, playing cornetto ordulcian. Although Castello was a common name in Venice, Dario wasn’t, so was probably a pseudonym. Records suggest that there were three Venetian Castello instrumentalists, one of whom seems to be Dario’s son.
His two volumes of Sonate concertate were immensely popular at the time, and remain so today. The first book consists of 12 Sonatas for two or three solo instruments and continuo. The second set of Sonatas range from one to four solo instruments. They are often heard today played by trio sonata groups, with two violins and continuo. But this Academy of Ancient Music recording of the complete 1621 Libro Primo introduces the wide range of instruments that Castello specified in his score, with the addition of a cornetto, violetta (here interpreted as basso violetta da brazzo, an instrument an octave lower than a violin), dulcian and trombone to the two violins. Continue reading →