Arte

The first monographic recording entirely dedicated to Francesco Rasi is released for the 400th anniversary of his death (30 November 1621). The first interpreter of Monteverdi’s Orfeo, an astonishing tenor and poet with a life studded with triumphs, constant travels, debts and murders, this native of Arezzo was fought over by all the courts of Italy and Europe. The pieces, on texts by Petrarch, Guarini, Chiabrera and Rasi himself – including ten world premieres – are taken from the Vaghezze di Musica (1608) and the Madrigali (1610). Tenor soloist Riccardo Pisani explores their extraordinary poetic and musical power, in a kaleidoscope of affects divided into seven ‘strings of the lyre’. He is accompanied by the Ensemble Arte Musica, directed by harpsichordist Francesco Cera. The two artists have been collaborating for years on rediscovering the Italian vocal repertory of the seventeenth century, as witnessed by the recent success of their set of Frescobaldi CDs, released on Arcana.

During Albinoni’s lifetime (1671-1751) four separate collections of sonatas with violin were published under his name, though only the Trattenimenti armonici Op.6 were prepared by their composer. The works in Op.6 have accordingly dominated the record catalogues and obscured the virtues of the others, which Federico Guglielmo presents here with his customary flair and feeling for the Italian Baroque which has previously yielded the much-praised Brilliant Classics collection of Vivaldi’s Opp 1-12 (95200) as well as the Op.1 Trio Sonatas (94789) by Albinoni himself.

These songs for one and two voices come from the first four of D’India’s five books of Musiche, a series containing masterpieces of astonishing originality in the style of monody (solo melody with accompaniment), which had eclipsed the polyphonic madrigal in popularity at the dawn of the 17th century. With a career based largely in Turin and Rome, Sigismondo D’India nevertheless demonstrates stylistic links to both Monteverdi and Gesualdo, and it is the latter’s influence which supports new scholarship claiming D’India grew up in Naples (not Sicily) in the shadow of the great madrigalist’s free thinking on harmony. That very harmonic freedom – to accentuate key emotions in the text with piquant chord changes – is the hallmark of D’India’s own, self-styled ‘true manner’ of composing monody, adopted from Gesualdo’s intense, chromatic polyphony to the solo song or duet, and it suggests a Neapolitan, rather than Roman–Florentine, musical background.