Federica Bianchi - Aquila altera (2022) [Hi-Res]
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BAND/ARTIST: Federica Bianchi
- Title: Aquila altera
- Year Of Release: 2022
- Label: Passacaille
- Genre: Classical
- Quality: FLAC (tracks) / 24bit-88.2kHz FLAC (tracks+booklet)
- Total Time: 39:51
- Total Size: 237 / 786 MB
- WebSite: Album Preview
Tracklist:
1. Codex Faenza: No. 49. Non na el so amante (Intabulación basada en una obra vocal de acopo Joseph da Bologna) (2:43)
2. Frottole intabulate da sonare organi, libro primo: No. 16. Per dolor mi bagno el viso (After the Bartolomeo Tromboncino's Frottola) (3:53)
3. Toccata (2:06)
4. Codex Faenza: No. 69. Ave maris stella (Intabulación) (1:36)
5. Intavolatura cioè recercari, canzoni, himni, magnificat: X. Ave maris stella (2:06)
6. Intavolatura de cimbalo: No. 4. Chi la dirra disminuita (After Adrian Willaert) (2:09)
7. Codex Faenza: No. 45. O ciecho mondo (Intabulación basada en una obra vocal de acopo Joseph da Bologna) (2:40)
8. Frottole intabulate da sonare organi, libro primo: No. 9. Occhi miei lassi (After the Bartolomeo Tromboncino's Frottola) (3:37)
9. Il Transilvano, Pt. 1 - Venezia, 1597: IX. Toccata dell'ottavo tono (2:33)
10. Codex Faenza: No. 46. Aquila altera (Intabulación basada en una obra vocal de acopo Joseph da Bologna) (2:14)
11. Frottole intabulate da sonare organi, libro primo: No. 11. Animoso mio desire (After the Bartolomeo Tromboncino's Frottola) (2:03)
12. Ricercari, Libro 3: No. 8. Ricercar "Anchor che co'l partire" (after Cipriano de Rore) (3:23)
13. Codex Faenza: No. 51. Che pena è questa al cor (Intabulación basada en una obra vocal de acopo Francesco Landini) (3:19)
14. Frottole intabulate da sonare organi, libro primo: No. 19. Le non vuol esser più mia (After the Bartolomeo Tromboncino's Frottola) (1:10)
15. Diminuzioni sopra il madrigale "Ancor che col partire" (4:26)
1. Codex Faenza: No. 49. Non na el so amante (Intabulación basada en una obra vocal de acopo Joseph da Bologna) (2:43)
2. Frottole intabulate da sonare organi, libro primo: No. 16. Per dolor mi bagno el viso (After the Bartolomeo Tromboncino's Frottola) (3:53)
3. Toccata (2:06)
4. Codex Faenza: No. 69. Ave maris stella (Intabulación) (1:36)
5. Intavolatura cioè recercari, canzoni, himni, magnificat: X. Ave maris stella (2:06)
6. Intavolatura de cimbalo: No. 4. Chi la dirra disminuita (After Adrian Willaert) (2:09)
7. Codex Faenza: No. 45. O ciecho mondo (Intabulación basada en una obra vocal de acopo Joseph da Bologna) (2:40)
8. Frottole intabulate da sonare organi, libro primo: No. 9. Occhi miei lassi (After the Bartolomeo Tromboncino's Frottola) (3:37)
9. Il Transilvano, Pt. 1 - Venezia, 1597: IX. Toccata dell'ottavo tono (2:33)
10. Codex Faenza: No. 46. Aquila altera (Intabulación basada en una obra vocal de acopo Joseph da Bologna) (2:14)
11. Frottole intabulate da sonare organi, libro primo: No. 11. Animoso mio desire (After the Bartolomeo Tromboncino's Frottola) (2:03)
12. Ricercari, Libro 3: No. 8. Ricercar "Anchor che co'l partire" (after Cipriano de Rore) (3:23)
13. Codex Faenza: No. 51. Che pena è questa al cor (Intabulación basada en una obra vocal de acopo Francesco Landini) (3:19)
14. Frottole intabulate da sonare organi, libro primo: No. 19. Le non vuol esser più mia (After the Bartolomeo Tromboncino's Frottola) (1:10)
15. Diminuzioni sopra il madrigale "Ancor che col partire" (4:26)
With this recording, Federica Bianchi explores the development of music for keyboard instruments from the beginning of the 15th century to the dawn of the Baroque period. The earliest works originate from the famous Codex Faenza (c. 1400-1420), a manuscript of secular songs arranged for keyboard instrument by composers such as Jacopo da Bologna and Guillaume de Machaut. The earliest printed collection (1517), devoted exclusively to music for keyboard instruments, marks another milestone in this development. Later works on this album include arrangements of Renaissance hits such as Ancor che col partire.
Federica Bianchi’s exploration of this repertoire takes her to the toccatas of the late 16th and early 17th centuries. Federica Bianchi plays this repertoire on three instruments built after historical models: a clavicymbalum after a design from the first half of the 15th century and two harpsichords after Italian models from the 16th and 17th centuries.
Federica Bianchi’s exploration of this repertoire takes her to the toccatas of the late 16th and early 17th centuries. Federica Bianchi plays this repertoire on three instruments built after historical models: a clavicymbalum after a design from the first half of the 15th century and two harpsichords after Italian models from the 16th and 17th centuries.
Year 2022 | Classical | FLAC / APE | HD & Vinyl
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