Recinti Sacri

The Sacri concerti a voce sola. Con la Partitura per l’organo, published in Venice by Bartolomeo Magni in 1642, have been composed during Filago stay in Venice and follow a long silence in the author publications, according to what Filago himself writes in the preface. This is the fourth and last print of this author: the preceding volumes published in 1611 and 1619 contain polyphonic motets, and another volume, presumably published between these two, is lost. The volume of 1611 is extant in an incomplete copy.

In 1614, Lodovico Grossi da Viadana (1560– 1627) published his most important collection of monodies. A truly monumental contribution to the vocal solo repertoire, it comprises one hundred motets with basso continuo, twenty-five for each of the four main vocal registers. This collection survives today in only two copies of its 1615 German print with the title Centum sacri concentus ab una voce sola.

In 1614, Lodovico Grossi da Viadana (1560– 1627) published his most important collection of monodies. A truly monumental contribution to the vocal solo repertoire, it comprises one hundred motets with basso continuo, twenty-five for each of the four main vocal registers. This collection survives today in only two copies of its 1615 German print with the title Centum sacri concentus ab una voce sola.

This is the only recording of sacred music by the extraordinary 17th-century Venetian singer and composer Barbara Strozzi. The Latin works in her collection Sacri Affetti Musicali were entirely suitable for church performance–something Strozzi herself, as a woman outside a convent, was forbidden to do. Most likely she performed these pieces as "spiritual recreation" at meetings of the "Academy of the Unisons" founded by her father, a well-known poet.