Italia per Sempre RedHerring Baroque Ensemble, Annelies Van Gramberen & Patrick Denecker
- Domenico Sarri (1679 - 1744): Concerto in D:
- 1Concerto in D: I. Amoroso03:59
- 2Concerto in D: II. Adagio01:12
- 3Concerto in D: III. Allegro01:31
- Leonardo Leo (1694 - 1744): Agnellino innocente:
- 4Agnellino innocente: I. Recit "Agnellino innocente"01:20
- 5Agnellino innocente: II. Aria "Innocente la colomba"04:23
- 6Agnellino innocente: III. Recit "Cosi quest'alma amante"01:00
- 7Agnellino innocente: IV. Aria "La vaga farfalleta"03:06
- Giovanni Antonio Canuti (1680 - 1739): Sonata, a Flauto Solo, e Basso:
- 8Sonata, a Flauto Solo, e Basso: I. Largo01:44
- 9Sonata, a Flauto Solo, e Basso: II. Allegro01:33
- 10Sonata, a Flauto Solo, e Basso: III. Largo01:35
- 11Sonata, a Flauto Solo, e Basso: IV. Allegro01:46
- Nicolo Fiorenza (1700 - 1764): Concerto in A:
- 12Concerto in A: I. Largo / Grave02:29
- 13Concerto in A: II. Allegro02:04
- 14Concerto in A: III. Largo / Grave02:27
- 15Concerto in A: IV. Allegro assai01:11
- Alessandro Scarlatti (1660 - 1725): Venere e Amore:
- 16Venere e Amore: Spiritoso - Grave affettuoso - Allegro04:43
- Anonymous: Sonata a Flauto Solo e Basso:
- 17Sonata a Flauto Solo e Basso: I. Allegro02:03
- 18Sonata a Flauto Solo e Basso: II. Grave01:31
- 19Sonata a Flauto Solo e Basso: III. Andante01:52
- Francesco Mancini (1672 - 1737): Dir vorrei quel bel contento:
- 20Dir vorrei quel bel contento: I. Aria "Dir vorrei quel bel contento"04:13
- 21Dir vorrei quel bel contento: II. Recit "Ah che quei caribaci"00:48
- 22Dir vorrei quel bel contento: III. Aria "Tacero non parlero"03:36
- Tomaso Albinoni (1671 - 1751): Sonata a Flauto Solo e Basso:
- 23Sonata a Flauto Solo e Basso: I. Adagio02:24
- 24Sonata a Flauto Solo e Basso: II. Allegro02:47
- 25Sonata a Flauto Solo e Basso: III. Largo01:42
- 26Sonata a Flauto Solo e Basso: IV. Vivace02:34
- Domenico Sarri: Concerto in A Minor:
- 27Concerto in A Minor: I. Largo01:33
- 28Concerto in A Minor: II. Allegro03:31
- 29Concerto in A Minor: III. Larghetto01:58
- 30Concerto in A Minor: IV. Spiritoso01:56
- Nicolo Fiorenza: Sinfonia a Flauto Solo:
- 31Sinfonia a Flauto Solo: I. Moderato01:47
- 32Sinfonia a Flauto Solo: II. Allegro04:01
- 33Sinfonia a Flauto Solo: III. Largo01:53
- 34Sinfonia a Flauto Solo: IV. Allegro03:20
Info for Italia per Sempre
Italy is Europe’s largest exporter of wine, and the second-largest exporter of olive oil, but in the 16th century it was by far the largest exporter of music. We even think of the 17th century as a period of “Export Italianism”: after Monteverdi invented baroque music – more or less on his own – European courts and cities (Vienna, Paris, Amsterdam, and especially London) sparkled with the splendour of Latin innovation, and with the Italian geniuses who sparked it far away from their Mediterranean home towns.
But some Italians preferred to stay at home: big names like Alessandro Scarlatti and Albinoni, but also delightful incogniti such as Leonardo Leo, Nicolo Fiorenza, Giovanni Antonio Canuti and Francesco Mancini. They developed a hyper-personal style which was impervious to international fashion, and (especially in the South) characterized by extravagance and a distinct couleur locale. Their works are virtually unknown, but as local archives are shedding their treasures through digitization projects, more and more gems are finding their ways to recordings such as the present one.
There is no better advocate for this sun-drenched repertoire than the Antwerp ensemble RedHerring. Founded in 2011 by recorder player Patrick Denecker, RedHerring boasts some of Belgium’s finest baroque pioneers such as violinist Ryo Terakado, viol player Kaori Uemura and lutenist Philippe Malfeyt.
These virtuosi bring the all-Italian menu to life in the attractive and acclaimed fashion of preceding projects. Both Klara Radio and Fono Forum awarded the 2016 recording La Muse and La Mise – dedicated to 18th century French salon jams – with 5/5, while De Standaard called it “at once refined and careless, gold-framed and fleeting; a CD which embodies an evening spent in good company”.
RedHerring not only relies on spontaneity, intuition and improvisation. Denecker and his pals embrace the view that the use of correct instruments can enhance our insight into and understanding of the music. As a consequence, Denecker plays compositions of which the Neapolitan origin is certain on a copy of an anonymous recorder from the collection of Giacomo Rossini, now in the Victoria and Albert Museum in London.
Music history emphasizes main streams and great names. Recordings like the present one, which explore the side tracks and alleyways historians never venture into, make up for the oversight which is inevitable in any synthetic enterprise. They allow us to enjoy good music which has been forgotten through no fault of its own.
Patrick Denecker, recorder, direction
Annelies van Gramberen, soprano
Redherring Baroque Ensemble
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