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Luzzasco Luzzaschi (1545-1607) - Madrigals, Motets & Instrumental Music - Profeti della Quinta (2016) {Pan Classics}
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© 2016 Pan Classics / Note 1 Music | PC 10350
Classical / Renaissance / Early Music

In his publications, Luzzasco Luzzaschi (c. 1545-1607) presents himself, rather modestly as the Organist of the Serene Highness Duke of Ferrara. Accordingly, Luzzaschis reputation today is similarly modest; he is known, if at all, thanks only to the music he composed for the Concerto delle Dame an ensemble of virtuoso female singers at the dEste court in Ferrara. And yet, when his entire oeuvre is explored, one discovers that his music and influence are greater than could have been imagined. In fact, Luzzaschi was both musically and historically one of the central musical figures of the late Renaissance. This recording presents a broad picture of Luzzaschis oeuvre, selecting works in various genres, performed in historically informed settings with appropriate performance practices. While pieces for the Concerto delle Dame are included, one of the intentions of Profeti della Quinta is to highlight the fact that the rest of Luzzaschis output stands equally alongside these compositions.

An elderly couple journey to Tokyo to visit their children and are confronted by indifference, ingratitude and selfishness.

Veteran Japanese writer/director Yasujiro Ozu's second postwar production was 1949's Late Spring or Banshun. Chisu Ryu plays another of Ozu's realistic middle-class types, this time a widower with a marriageable daughter. Not wishing to see the girl resign herself to spinsterhood, Ryu pretends that he himself is about to be married. The game plan is to convince the daughter that they'll be no room for her at home, thus forcing her to seek comfort and joy elsewhere. What makes this homey little domestic episode work is the rapport between Chisu Ryu and Setsuko Hara, who plays the daughter. Late Spring is no facile Hollywood farce; we like these people, believe in them, and wish them the best.