Italian Music

Jakob Lindberg was born in Sweden and developed his first passionate interest in music through the Beatles. After studying music at Stockholm University he came to London to study at the Royal College of Music. Under the guidance of Diana Poulton he decided towards the end of his studies to focus on Renaissance and baroque music.

Nowadays, the Italian repertory of fifteenth-century secular music is better known through the reworkings of visiting foreigners like Isaac and Josquin than by the home-grown article. This recording introduces some of those native idioms and composers: the famous Scaramella tune made famous by Compere and Josquin (assuming that setting is his) appears in its original, monophonic guise; elsewhere, two songs by the frottolist Marchetto Cara set the tone. As with Italian music of later periods, polyphonic textures are deliberately played down to allow for the maximum projection and embellishment of the principal line. A number of non-vocal pieces attest to the preoccupation with instrumental virtuosity, represented by such figures as the lutenist Serafino. Sirinu have been active on the concert circuit for a number of years, but this disc marks their debut as recording artists. The programme is varied, the choice of instrumental combinations judicious and spirited, and the performers’ lightness of touch rests as easily on the ear as the music itself. Lightness is indeed the chief attribute of Sara Stowe’s singing, shown to best effect in pieces like Non e tempo d’aspectare, Scopri, lingua or the possibly scurrilous piece de resistance, Villana.

Italian instrumental music was at its zenith when the works of these ten composers were written and each of those selected was a significant figure in the expansion of music for the harpsichord. Frescobaldi, represented by two athletic Toccatas, was influential across Germany while Merula’s beautiful Capriccio and Zipoli’s gracefully austere Sonata in C major reveal the breadth and variety to be found in Italian keyboard music of the period. The Venetian-born Pescetti draws the music from the Baroque onward to the new galant style.

Italian instrumental music was at its zenith when the works of these ten composers were written and each of those selected was a significant figure in the expansion of music for the harpsichord. Frescobaldi, represented by two athletic Toccatas, was influential across Germany while Merula’s beautiful Capriccio and Zipoli’s gracefully austere Sonata in C major reveal the breadth and variety to be found in Italian keyboard music of the period. The Venetian-born Pescetti draws the music from the Baroque onward to the new galant style.

For his third album for Chandos, the saxophonist Marco Albonetti turns to the rich tradition of film music from his native Italy.

Italian instrumental music was at its zenith when the works of these ten composers were written and each of those selected was a significant figure in the expansion of music for the harpsichord. Frescobaldi, represented by two athletic Toccatas, was influential across Germany while Merula’s beautiful Capriccio and Zipoli’s gracefully austere Sonata in C major reveal the breadth and variety to be found in Italian keyboard music of the period. The Venetian-born Pescetti draws the music from the Baroque onward to the new galant style.

Absolutely first-class introduction to the brilliant world of early/mid 17th-century Italian harpsichord music, by one of the very best (THE best?) young players in a highly-competitive field. All the big composers are here in about the right proportion - yes, there's considerably more Frescobaldi and, to a lesser extent, Picchi, but also satisfying representative glimpses of vital historical figures like de Macque and Merulo. And ALL the selections are beautiful in themselves and superbly played. Yates is an expert on historical instruments and I think it shows in her discerning choice for this recording - she plays a Ransom & Hammett 1994 build based on Italian c1600 models.

More than 25 years after his first EMI album, Antonio Pappano has established himself as a leading figure of conducting, particularly in music from his native Italy. This collection includes excerpts from all his EMI and Warner Italian recordings, from the famous Verdi and Puccini cycles with Roberto Alagna and Angela Gheorghiu to the recent praised versions of Turandot and Rossini’s sacred works.