Frank Agsteribbe, cantoLX, Maurice Clement - Frescobaldi: Meta(m)orpheus (2015)
BAND/ARTIST: Frank Agsteribbe, cantoLX, Maurice Clement
- Title: Frescobaldi: Meta(m)orpheus
- Year Of Release: 2015
- Label: Etcetera
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:12:56
- Total Size: 305 mb
- WebSite: Album Preview
Tracklist
01. Canto in stile recitativo - Oscure selve
02. Aria - Ai miei pianti
03. Canzona - Oh dolore
04. Canto in stile recitativo - Ben veggio donna homai
05. Souffle
06. Aria - Son ferito
07. Aria di Ruggieri - Ti lascio, anima mia
08. Aria - Voi partite mio sole, F 7.14
09. Aria a due voci - Non vi partite
10. Complainte
11. Canzona a due voci - Gioite, oh selve
12. Madrigale - Bella tiranna
13. Aira - O mio cor
14. Canzona - Deh volate
15. Ceccona - Deh vien da me
16. Éveils
17. Madrigale - Quanto più sorda sete
18. Canzona - Soffrir non posso
19. Aria - La mia pallida faccia, F 7.31
20. Ça
21. Sonetto spirituale - Dove sparir
22. Sonetto spirituale in stile recitativo - Ohime che fur
23. Canzona - Doloroso mio core
24. Appel
25. Canto in stile recitativo - Vanne, o carta amorosa
Morpheus was the Greek god of dreams. His father Hypnos was the god of sleep. Morpheus was able to transform himself into the likeness of any human being and most often appeared in dreams as the sleeper’s beloved.
Orpheus was another Greek mythological figure and was one of the most renowned of the singers and poets of Antiquity; he was also regarded as one of the gods of music. The powers that his literally magical voice possessed were so great that he could not only bring his rough and ready contemporaries closer to civilisation but also tame the wild beasts in the forest; he could even breathe life into and then enrapture inanimate Nature herself.
Girolamo Frescobaldi brought his two volumes of Arie Musicali to publication in Florence in 1630 and distanced himself from Caccini’s purely narrative madrigals by so doing. Frescobaldi brought together secular sonnets, sacred madrigals, recitatives, arias and ensembles in every possible style; it is this immense variety above all else that makes a recording of the complete Arie Musicali so exciting and challenging.
Meta(M)Orfose: improvisations by Maurice Clement that are far removed from such fatal desires and the 17th century aesthetic. New timbres on the organ that provide a highly individual commentary on Frescobaldi’s Arie Musicali… desire, search for and missing the beloved… times have not changed.
01. Canto in stile recitativo - Oscure selve
02. Aria - Ai miei pianti
03. Canzona - Oh dolore
04. Canto in stile recitativo - Ben veggio donna homai
05. Souffle
06. Aria - Son ferito
07. Aria di Ruggieri - Ti lascio, anima mia
08. Aria - Voi partite mio sole, F 7.14
09. Aria a due voci - Non vi partite
10. Complainte
11. Canzona a due voci - Gioite, oh selve
12. Madrigale - Bella tiranna
13. Aira - O mio cor
14. Canzona - Deh volate
15. Ceccona - Deh vien da me
16. Éveils
17. Madrigale - Quanto più sorda sete
18. Canzona - Soffrir non posso
19. Aria - La mia pallida faccia, F 7.31
20. Ça
21. Sonetto spirituale - Dove sparir
22. Sonetto spirituale in stile recitativo - Ohime che fur
23. Canzona - Doloroso mio core
24. Appel
25. Canto in stile recitativo - Vanne, o carta amorosa
Morpheus was the Greek god of dreams. His father Hypnos was the god of sleep. Morpheus was able to transform himself into the likeness of any human being and most often appeared in dreams as the sleeper’s beloved.
Orpheus was another Greek mythological figure and was one of the most renowned of the singers and poets of Antiquity; he was also regarded as one of the gods of music. The powers that his literally magical voice possessed were so great that he could not only bring his rough and ready contemporaries closer to civilisation but also tame the wild beasts in the forest; he could even breathe life into and then enrapture inanimate Nature herself.
Girolamo Frescobaldi brought his two volumes of Arie Musicali to publication in Florence in 1630 and distanced himself from Caccini’s purely narrative madrigals by so doing. Frescobaldi brought together secular sonnets, sacred madrigals, recitatives, arias and ensembles in every possible style; it is this immense variety above all else that makes a recording of the complete Arie Musicali so exciting and challenging.
Meta(M)Orfose: improvisations by Maurice Clement that are far removed from such fatal desires and the 17th century aesthetic. New timbres on the organ that provide a highly individual commentary on Frescobaldi’s Arie Musicali… desire, search for and missing the beloved… times have not changed.
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