Madrigali Libro

La Venexiana's Secondo Libro del Madrigali is the second volume in an edition devoted to the recording of all eight of Claudio Monteverdi's madrigal collections undertaken by the Spanish label Glossa. In promotional materials for the series, Glossa admits that this is a "time when 'complete' recordings seem to be coming less meaningful and attractive for the music lover" but have decided that there is need for such a series, especially as La Venexiana is so well-versed in the madrigals of Monteverdi.

La Compagnia del Madrigale’s subtle, yet powerful advocacy of great Italian madrigals continues with Marenzio's 'Quinto Libro di Madrigali a sei voci' from 1591. Their previous recordings including the recent award-winning 'Primo Libro', have demonstrated their fresh approach, imbued with invaluable years of experience in other groups such as La Venexiana and Concerto Italiano. From 2016 La Compagnia have been invited to join the concert season at Wigmore Hall. Marenzio’s 'Quinto Libro' was dedicated to Virginio Orsini, Duke of Bracciano, on the occasion of his marriage to Flavia Peretti: a wedding album full of the latest musical and poetical techniques.

The Ferrarese Luzzasco Luzzaschi, a pupil of Cipriano de Rore and teacher in turn of Girolamo Frescobaldi, much admired and praised by the self-same Gesualdo da Venosa, has passed into history as the principal musical inspiration for the Concerto delle Dame, that vocal trio with instrumental accompaniment (for which Glossa has very recently produced a new recording).

Monteverdi - Madrigali vol. 3: Venezia - Les Arts Florissants, Paul Agnew (2017) {Harmonia Mundi HAF 8905278}
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© 2017 Harmonia Mundi | HAF 8905278
Classical / Renaissance / Baroque / Madrigal

Recorded at the Cité de la Musique during the complete cycle of Monteverdi madrigals mounted in partnership with the Philharmonie de Paris and the Théâtre de Caen, the last volume in our trilogy probably contains the best-loved gems of a composer who had become maestro di cappella at St Mark’s in Venice, and finally entered the priesthood. Alongside the great operas that have survived from this period, the final madrigals methodically explore the multiple possibilities offered by the rapidly developing practice of basso continuo and by an unprecedented exploitation of solo voices. And, in that respect, the celebrated 'Combattimento di Tancredi e Clorinda' forms a spectacular finale to our Monteverdian adventure!

Jordi Savall - Monteverdi - Madrigali Guerrieri Et Amorosi, Libro Ottavo (1995) {Astrée-Auvidis E 8546}
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© 1995 Auvidis / Astrée | E 8546
Classical / Baroque / Renaissance

Monteverdi's madrigals were the laboratory in which he sought the connections between music and the emotions, and none are more moving and evocative than those of his eighth and final book, the "Madrigali Guerrieri et Amorosi," (1638). This release offers only a selection, but puts the music's drama in gratifyingly high relief. It's a beautifully sung, ravishingly played and lushly recorded collection, "Madrigali Guerrieri et Amorosi," by Jordi Savall and La Capella Reial de Catalunya (Astree E 8546). Dynamics are supple, coloration is flexible and expressive dissonances are pointed up in a way that gives works like "Lamento della Ninfa" and "Gira il nemico" an unusually vivid edge.