This is a 2 cd set of music of the Venetian masters – Giovanni Gabrieli, Claudio Monteverdi, Alessandro Grandi, Dario Castello, Giovanni Legrenzi and Antonio Lotti. The first cd is music solely of Giovanni Gabrieli, who lived from 1554/7 to 1612. Langston 1 Bryce Langston Professor Moore Humanities II 2 February 2017 Baroque Music: Claudio Monteverdi vs. Antonio Vivaldi Claudio Monteverdi Claudio Monteverdi was arguably the thread connecting Renaissance and Baroque music. Without his compositions, there would have been a lack of advance from the strict contrapuntal style of the Renaissance to a more expressive Baroque style,. Find album reviews, stream songs, credits and award information for From Monteverdi to Vivaldi - Andrew Parrott on AllMusic - 2003. A Vivaldi concerto usually has movements. A variable number of. Antonio Vivaldi. Pierluigi da Palestrina. Claudio Monteverdi. The is the person who beats time, indicates expression, cues in musicians, and controls the balance among instruments and voices.
- Antonio Vivaldi And Claudio Monteverdi
- Claudio Monteverdi Baroque Period
- Claudio Monteverdi Major Composition
- Claudio Monteverdi Biography
- Claudio Monteverdi Opera
How to say the name:
‘Vivaldi’ is said like Vi-val-dee. ‘Antonio’ is said like ‘An-toe-nee-o’.
Born:
4th March 1678 in Venice, Italy.
Died:
28th July 1741 in Venice.
Buried:
Unknown pauper’s (poor person’s) grave in the Hospital Burial Ground in Vienna.
Type of Music:
Classical music from the baroque period.
Some famous (and great) pieces:
- The Four Seasons (a series of four violin concertos). (see below for a video.)
- Gloria (for choir and orchestra). (see below for a video.)
The Sort of Music he Wrote:
- Over 500 concertos, almost half of which are for violin.
- 46 operas.
- Music for choir and orchestra for the church.
- A number of pieces for a single or small number of instruments.
Some interesting facts:
- He became an ordained priest in 1703.
- He worked for many years at a girls’ school. So a lot of his music was actually written for school girls to play! (Imagine having a music teacher like that!!)
- Bach was a great fan of Vivaldi’s.
- His music is often very bright and cheerful.
- He was a very good violin player (violinist).
- He made a lot of money in his life, but died very poor.
- Some of his music is lost, but new pieces keep being discovered all the time!
Here is a video of part of Vivaldi’s The Four Seasons. Which season do you think this music is about?
(Answer: summer.)
And here is a video of Vivaldi’s Gloria.
Vivaldi’s ‘Gloria’
Picture credits:
- Antonio Vivaldi. This picture is by François Morellon de la Cave from 1725. The image is in the public domain. Click here for the source of this image, along with the relevant copyright information.
Video credits:
- Vivaldi Four Seasons – I Musici 1988. Summer excerpt. This is the third movement of Summer, Presto.
- musica intima & Pacific Baroque Orchestra – Vivaldi’s Gloria. musica intima & Pacific Baroque Orchestra sing Vivaldi’s Gloria www.musicaintima.org.
- 25-07-2020, 12:47
- Classical Music | FLAC / APE | CD-Rip
Artist: Anne Sofie von Otter, Musica Antiqua Köln, Reinhard Goebel
Title: Lamenti: Monteverdi, Vivaldi, Purcell, Bertali, Legrenzi
Year Of Release: 1998
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 59:41
Total Size: 273 Mb
WebSite: Album Preview
Tracklist:Title: Lamenti: Monteverdi, Vivaldi, Purcell, Bertali, Legrenzi
Year Of Release: 1998
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 59:41
Total Size: 273 Mb
WebSite: Album Preview
Claudio Monteverdi (1567-1643)
[1] 'Con che soavita'
Antonio Bertali (1605-1669)
[2] 'Lamento della regina d'Inghilterra'
Giovanni Legrenzi (1626-1690)
[3] 'Il ballo del Gran Duca', op.16: 'Corrente Nona'
Antonio Vivaldi (1678-1741)
[4] Cantata 'Cessate, omni cessate', RV 684
Claudio Monteverdi
[5] 'Lamento d'Arianna'
Antonio Vivaldi And Claudio Monteverdi
Henry Purcell (1659-1695)[6] 'Incassum, Lesbia rogas', Z.383
Alessandro Piccinini (1566-c.1638)
[7] Ciaccona
Henry Purcell (1659-1695)
[8] 'Oh, solitude!', Z.406
Claudio Monteverdi Baroque Period
Performers:Anne Sofie von Otter, mezzo-soprano
Franz-Josef Selig, bass
Claudio Monteverdi Major Composition
Jacob Lindberg, theorbeClaudio Monteverdi Biography
Musica Antiqua Köln
Reinhard Goebel, direction
Claudio Monteverdi Opera
The first but misleading impression that you may have while reading the tracklist of Anne Sofie von Otter’s album Lamenti is that the programme is cheerless and even mournful, especially if you consider that all the works collected here have desperation for their subject, and Baroque desperation is one of the human conditions inspiring pity for a while, but able to annoy if it lasts longer.
Technically speaking, the lamento was one of the most successful musical genres of the Baroque period and virtually all the composers of the time wrote one or (preferably) more of these vocal pieces on woeful texts. The most famous of all lamenti is Claudio Monteverdi’s Lamento d’Arianna, which is conveniently included in this recording together with other vocal and instrumental works of the early Baroque, as the equally famous cantata Cessate, omai cessate by Antonio Vivaldi, Con che soavità, written by Monteverdi, together with rarities as Antonio Bertali’s Lamento della Regina d’Inghilterra or Henry Purcell’s Incassum, Lesbia, rogas and O Solitude. Two orchestral “intermezzi”, Il Ballo del Gran Duca by Giovanni Legrenzi and the lovely Ciaccona by Alessandro Piccinini complete the album.
If you think that the Ballo and the Ciaccona have been inserted to relieve the atmosphere of Lamenti, you are still wrong, but you have all the time to rethink this opinion as there are three vocal pieces before reaching the first of them and it is enough to listen to Anne Sofie von Otter to understand why this is not considered a mournful album but one of the finest works released in the last years of the 20th century.
Otter is a first-rate singer with a rich mezzosoprano voice and sensibility to guess and then to propose the different inspiration behind the six arias and cantatas she performs. Moreover, her crystalline timbre suits to perfection to the rarefied, noble character of these works.
The first track of Lamenti, Monteverdi’s Con che soavità, is tinged with a tender, delicate vein that nothing has to do with the gloomy expectations of the beginning and is a refined, contemplative and charming introduction to the world of early music. The next piece, Bertali’s Lamento della Regina d’Inghilterra is definitely sadder, but a fast central part stands out from the “static”, predominant feeling and anticipates Vivaldi’s Cessate, omai cessate, the cantata we find after the Ballo del Gran Duca.
Cessate, omai cessate is maybe the most stunning, the most original piece of Lamenti. Instead of singing with a resigned, depressed mood, Otter shows here her untameable temper and “laments” her abandonment with unrestrained fury (note her strong “r” and the choice of the accents), a psychological condition that is stressed also by conductor Reinhard Goebel, especially when he has to introduce the second part of the cantata.
Monteverdi’s Lamento d’Arianna is very well sung, but less surprising than the Vivaldi cantata, although Otter must be praised for the sense of disillusionment with which she characterizes her heroine, who seems to have lost even the strength to complain.
Purcell’s Incassum, Lesbia, rogas (written on the death of Queen Mary) and O Solitude are somehow apart, not because they are not a right choice for Lamenti, but because in the two works by the English composer Otter shows a warmth that she never revealed before, not even in Con che soavità, and that conquers immediately the listener.
Lamenti is a deceitful title, in a certain sense. If it is the only possible title to describe the kind of works recorded by Anne Sofie von Otter, it nonetheless gives no chance to guess the beauty and originality of the performance of the great Swedish mezzosoprano. There is no other choice than to listen to her to understand it completely.
Technically speaking, the lamento was one of the most successful musical genres of the Baroque period and virtually all the composers of the time wrote one or (preferably) more of these vocal pieces on woeful texts. The most famous of all lamenti is Claudio Monteverdi’s Lamento d’Arianna, which is conveniently included in this recording together with other vocal and instrumental works of the early Baroque, as the equally famous cantata Cessate, omai cessate by Antonio Vivaldi, Con che soavità, written by Monteverdi, together with rarities as Antonio Bertali’s Lamento della Regina d’Inghilterra or Henry Purcell’s Incassum, Lesbia, rogas and O Solitude. Two orchestral “intermezzi”, Il Ballo del Gran Duca by Giovanni Legrenzi and the lovely Ciaccona by Alessandro Piccinini complete the album.
If you think that the Ballo and the Ciaccona have been inserted to relieve the atmosphere of Lamenti, you are still wrong, but you have all the time to rethink this opinion as there are three vocal pieces before reaching the first of them and it is enough to listen to Anne Sofie von Otter to understand why this is not considered a mournful album but one of the finest works released in the last years of the 20th century.
Otter is a first-rate singer with a rich mezzosoprano voice and sensibility to guess and then to propose the different inspiration behind the six arias and cantatas she performs. Moreover, her crystalline timbre suits to perfection to the rarefied, noble character of these works.
The first track of Lamenti, Monteverdi’s Con che soavità, is tinged with a tender, delicate vein that nothing has to do with the gloomy expectations of the beginning and is a refined, contemplative and charming introduction to the world of early music. The next piece, Bertali’s Lamento della Regina d’Inghilterra is definitely sadder, but a fast central part stands out from the “static”, predominant feeling and anticipates Vivaldi’s Cessate, omai cessate, the cantata we find after the Ballo del Gran Duca.
Cessate, omai cessate is maybe the most stunning, the most original piece of Lamenti. Instead of singing with a resigned, depressed mood, Otter shows here her untameable temper and “laments” her abandonment with unrestrained fury (note her strong “r” and the choice of the accents), a psychological condition that is stressed also by conductor Reinhard Goebel, especially when he has to introduce the second part of the cantata.
Monteverdi’s Lamento d’Arianna is very well sung, but less surprising than the Vivaldi cantata, although Otter must be praised for the sense of disillusionment with which she characterizes her heroine, who seems to have lost even the strength to complain.
Purcell’s Incassum, Lesbia, rogas (written on the death of Queen Mary) and O Solitude are somehow apart, not because they are not a right choice for Lamenti, but because in the two works by the English composer Otter shows a warmth that she never revealed before, not even in Con che soavità, and that conquers immediately the listener.
Lamenti is a deceitful title, in a certain sense. If it is the only possible title to describe the kind of works recorded by Anne Sofie von Otter, it nonetheless gives no chance to guess the beauty and originality of the performance of the great Swedish mezzosoprano. There is no other choice than to listen to her to understand it completely.
DOWNLOAD FROM ISRA.CLOUD
Lamenti Monteverdi Vivaldi Purcell Bertali Legrenzi 98 2507.rar - 273.1 MB
Lamenti Monteverdi Vivaldi Purcell Bertali Legrenzi 98 2507.rar - 273.1 MB
- Re-Up this Album