Artist: Maria Luisa Baldassari

Title: Antico: Frottole Intabulate da sonare organi (Rome, 1517)

Year Of Release: 2017

Label: Tactus

Genre: Classical

Quality: FLAC (tracks, booklet) [44.1kHz/24bit]

Total Time: 55:51

Total Size: 612



Tracklist:



01. Che farala che dirala

02. Occhi miei lassi

03. Non più morte al mio morire

04. Per dolor mi bagno el viso

05. Chi non crede che al mondo el sol nutrisca [Performed on Spinetta]

06. Gentil donna se in voi

07. Crudel fugge se sai

08. Non resta in questa valle [Performed on Clavisimbalum]

09. Son io quel che era quel di

10. Fiamma amorosa e bella

11. Dolce ire dolce sdegni

12. Amor quando fioriva mia speme

13. Hor che'l ciel e la terra

14. Che debbio fare

15. Non resta in questa valle [Performed on Clavichord]

16. Chi non crede che al mondo el sol nutrisca [Performed on Clavichord]

17. La non vol esser più mia

18. Si è debile el filo

19. Per mio ben te vederei

20. O che aiuto o che conforto

21. O che dirala mo

22. Stavasi amor dormendo sotto faggio

23. Odi cielo el mio lamento

24. Me lasserá tu mo

25. Frena donna i toi bei lumi

26. Virgine bella che del sol vestita

27. Cantai mentre nel core

28. Animoso mio desire

29. Hor che'l ciel et la terra



One of the earliest music printers in the Renaissance era, Andrea Antico (ca. 1470-1540) held exclusive rights to publish in the Papal States, and his editions of sacred and secular music set him in competition with his Venetian counterpart, the famous publisher Ottaviano Petrucci. This 2017 release on Tactus presents 29 pieces that were printed in keyboard tablature by Antico in 1517 as the first book of Frottole Intabulate per sonare organi. The 15th century frottola was a generic form that developed into the madrigal, and was typically sung by three to four voices, though these performances by Maria Luisa Baldassari on spinet, clavichord, harpsichord, and organ show the adaptability of the form and the flexibility of Renaissance practices. Composers of frottolas, including Bartolomeo Tromboncino, who is well represented in this program, tended to avoid complex counterpoint and favored single-line melodies with simple chordal accompaniment, anticipating the Baroque aria. Baldassari has edited this collection and her program offers a variety of lively dances, such as the opening Che farala che dirala, and Dolce ire dolce sdegni, yet some of the pieces show melancholy and poignant aspects, as in Per dolor mi bagno el viso, Gentil donna se in voi, and Amor quando fioriva mia speme. The choice of instrument also determines the character of the music, so Baldassari's performances on a period organ may seem more cerebral and austere than they do on the intimate harpsichord. However, the changing moods and instrumentation keep the music fresh and intriguing, and Baldassari brings spirit and clarity to her performances.



Previously uploaded at Demonoid.