Trillo gagliardissimo

Trillo gagliardissimo

Band : , , ,
Titolo : Trillo gagliardissimo
Release Date : 1 novembre 2024
Label : , ,
Catalog ref. : NAC4
Format : CD

I Cavalieri del Cornetto is an ensemble composed by Andrea Inghisciano and David Brutti (Cornetto) and Simone Vebber (Organ)
About their recording Andrea Inghisciano writes: “The cornett is probably the most strongly linked instrument to the practice of diminution, the art of varying melodies through improvisation, for which numerous treatises were printed in Italy in the 16th and 17th centuries, and it is precisely at the turn of these two centuries that this instrument had its greatest expression. In the modern rediscovery and practice of music from past centuries, much has been done in many aspects, but not enough to revive the practice of improvisation, which was once an indispensable skill for all instrumentalists and singers. What I am most passionate about in my journey as a cornett player is precisely the study and experimentation of these techniques of improvised ornamentation, and I Cavalieri del Cornetto brings together musicians with this interest, who interact with a common language characterized by spontaneity and virtuosity, making the pieces sometimes only slightly variated, other times radically distorted. In doing so, we often obtain a kind of collective improvisation that the ancients in some cases complained about, as you can read in the quotes below, but as happens in the jazz world and in other musical genres that include improvisation, there have always been various approaches, derived both from inspiration and from individual technical skills, and although both musicians and listeners often disagree on musical tastes, all realities contribute to offering us a panorama as varied as possible.”

 

La Sirena | 1530

La Sirena | 1530

In Rome, in the year 1530, the term “madrigal” was printed for the first time on the title page of the Madrigali de diversi excellentissimi musici, Libro Primo de la Serena (“Madrigals of several excellent composers, First Book of the Siren”).
This is known from one altus partbook preserved in the Biblioteca Colombina in Seville, once belonging to Fernando Colón, son of Christopher Columbus. The Bayerische Staatsbibliotek in Munich holds superius and bassus from a 1533 reprint by Valerio Dorico (who most probably also printed the first edition) with two additional chansons by Claudin de Sermisy.
The Libro Primo de la Serena mainly contains four-part madrigals, notably a group of six by Philippe Verdelot, which appear to have circulated in manuscript form and later printed in the author’s Tutti li madrigali del primo et secondo libro a quatro voci in 1540.
Among these is Trista Amarilli mia, which allegorically describes the struggle of the Roman Church during the Sack of Rome in 1527 – only three years prior to the print – which had left a deep scar on the city and its cultural life.
The Serena contains other reprinted pieces: a well-known French chanson by Clement Janequin (proof of the genre’s popularity South of the Alps), two madrigals by Costanzo Festa (included one for three voices) and one by Maistre Jhan.
But the eight remaining madrigals are unique: two more by Verdelot, one each by Sebastiano Festa and Jacopo de Toscana, one anonymous six-part piece based on a canon and three by “Carlo”, probably Charles d’Argentil.

Prattica di musica:

Andrea Gavagnin: voice & artistic direction

Caterina Chiarcos, Andrés Montilla Acurero, Riccardo Pisani, Lorenzo Tosi voices

Marco Saccardin: voice & lute, Clémence Schiltz: viol, David Brutti: cornett, tenor cornett & mute cornett