Céline Scheen, Philippe Pierlot - Dolcissimo sospiro (2024) [Hi-Res]
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BAND/ARTIST: Céline Scheen, Philippe Pierlot
- Title: Dolcissimo sospiro
- Year Of Release: 2024
- Label: flora
- Genre: Classical
- Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks)
- Total Time: 01:09:34
- Total Size: 282 MB / 1.21 GB
- WebSite: Album Preview
Tracklist:
1. Le nuove musiche: No. 3. Dolcissimo sospiro (Version from the British Museum, MS. Egerton 2971) (3:27)
2. The First Part of Ayres, French, Pollish and Others: No. 107. What Greater Griefe (3:38)
3. The First Part of Ayres, French, Pollish and Others: No. 39. Touch Me Lightly - No. 38. Tickle Me Quickly - No. 35. Tickell, Tickell (5:05)
4. Le nuove musiche: No. 11. Dovrò dunque morire? (2:36)
5. The First Part of Ayres, French, Pollish and Others: No. 48. Love's Farewell (3:55)
6. Cruda Amarilli (Version from the British Museum, MS. Egerton 2971) (2:25)
7. A Musicall Dreame, or the Fourth Booke of Ayres: No. 21. S'amor non è che dunque (2:04)
8. The Dark Is My Delight (2:49)
9. A Musicall Dreame, or the Fourth Booke of Ayres: No. 19. In Sherwood livde stout Robin Hood (4:23)
10. Robin Hood (1:55)
11. Praeludium (No. 32, from the "Manchester Lyra-Viol Manuscript, Part 3" - f. 288) (0:45)
12. Paven (No. 46, from the "Manchester Lyra-Viol Manuscript, Part 3" - f. 302) (5:21)
13. Galliard Corant (3:50)
14. The Second Booke of Songs and Ayres: No. 9. Now What Is Love (2:44)
15. Allman Coranto (4:29)
16. Le nuove musiche: No. 4. Amor, io parto (4:10)
17. Why Stays the Bridegroom (Part 1) (2:28)
18. Bonny Sweet Robin (2:00)
19. Pavan No. 4 (Version from the Bodleian Library, Manuscript D.245) (3:49)
20. Why Stays the Bridegroom (Part 2) (2:00)
21. The First Part of Ayres, French, Pollish and Others: No. 9. Adue Sweete Loue (1:49)
22. The Second Set of Madrigals: No. 23. Weep, Weep Mine Eyes (Version from the British Museum, MS. Egerton 2971) (4:04)
1. Le nuove musiche: No. 3. Dolcissimo sospiro (Version from the British Museum, MS. Egerton 2971) (3:27)
2. The First Part of Ayres, French, Pollish and Others: No. 107. What Greater Griefe (3:38)
3. The First Part of Ayres, French, Pollish and Others: No. 39. Touch Me Lightly - No. 38. Tickle Me Quickly - No. 35. Tickell, Tickell (5:05)
4. Le nuove musiche: No. 11. Dovrò dunque morire? (2:36)
5. The First Part of Ayres, French, Pollish and Others: No. 48. Love's Farewell (3:55)
6. Cruda Amarilli (Version from the British Museum, MS. Egerton 2971) (2:25)
7. A Musicall Dreame, or the Fourth Booke of Ayres: No. 21. S'amor non è che dunque (2:04)
8. The Dark Is My Delight (2:49)
9. A Musicall Dreame, or the Fourth Booke of Ayres: No. 19. In Sherwood livde stout Robin Hood (4:23)
10. Robin Hood (1:55)
11. Praeludium (No. 32, from the "Manchester Lyra-Viol Manuscript, Part 3" - f. 288) (0:45)
12. Paven (No. 46, from the "Manchester Lyra-Viol Manuscript, Part 3" - f. 302) (5:21)
13. Galliard Corant (3:50)
14. The Second Booke of Songs and Ayres: No. 9. Now What Is Love (2:44)
15. Allman Coranto (4:29)
16. Le nuove musiche: No. 4. Amor, io parto (4:10)
17. Why Stays the Bridegroom (Part 1) (2:28)
18. Bonny Sweet Robin (2:00)
19. Pavan No. 4 (Version from the Bodleian Library, Manuscript D.245) (3:49)
20. Why Stays the Bridegroom (Part 2) (2:00)
21. The First Part of Ayres, French, Pollish and Others: No. 9. Adue Sweete Loue (1:49)
22. The Second Set of Madrigals: No. 23. Weep, Weep Mine Eyes (Version from the British Museum, MS. Egerton 2971) (4:04)
« Taking a viol in his hands, he began to play it with such sweetness that all the other emotions of the people present were surpassed by pleasure, even more so when he began to sing with the sweetest tenor voice... » Wedding celebration of the most serene D. Francesco Medici... 1579.
This account, which recalls Giulio Caccini singing while accompanying himself on the viol, adds to numerous other writings that praise the perfection of the union between voice and viol.
As early as the 16th century in Italy, accompanying the voice with a viola da gamba, known as "cantare alla viola", was considered the most beautiful way to awake the audience's emotions.
However, it is England that will provide us with the most exciting testimonies and reveal the fabulous embellishments that the great female singers of the time improvised. Several pieces for lyra viol, the viol played in the manner of the lyre, complement this program that weaves the connections between Italy and England at the dawn of the 17th century.
This account, which recalls Giulio Caccini singing while accompanying himself on the viol, adds to numerous other writings that praise the perfection of the union between voice and viol.
As early as the 16th century in Italy, accompanying the voice with a viola da gamba, known as "cantare alla viola", was considered the most beautiful way to awake the audience's emotions.
However, it is England that will provide us with the most exciting testimonies and reveal the fabulous embellishments that the great female singers of the time improvised. Several pieces for lyra viol, the viol played in the manner of the lyre, complement this program that weaves the connections between Italy and England at the dawn of the 17th century.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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