Monteverdi & Rossi: Balli & Sonate Clematis
Subgenre: Chamber Music
Composer: Lodovico da Viadana (1560-1627), Claudio Monteverdi (1567-1643), Salomone Rossi (1570-1930), Biagio Marini (1597-1665), Giuseppino del Bialo, Gasparo Zanetti (1600-1660)
Album including Album cover Booklet (PDF)
- Lodovico Viadana (1560-1627):
- 1Canzon francese in risposta03:18
- Salamone Rossi (1570-1630):
- 2Sinfonia grave a 502:16
- 3Sinfonie et gagliarde, Book 1: Gagliarda a 5 detta, "La Norsina"01:31
- 4Sinfonie et gagliarde, Book 1: Passeggio d'un balletto a 501:02
- 5Sinfonie et gagliarde, Book 1: Gagliarda a 5 detta, "La Massara"01:38
- 6Sinfonia a 502:07
- Claudio Monteverdi (1567-1643):
- 7Madrigals, Book 7 (Concerto: settimo libro de madrigali, con altri generi de canti), SV 117–145: Tempro la cetra, e per cantar gli onori, SV 11708:21
- Salamone Rossi:
- 8Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12: Sinfonia prima03:02
- 9Il quarto libro de varie sonate, sinfonie, gagliarde, brandi e corrente: Sonata duodecima sopra la Bergamasca02:15
- 10Madrigali à 5, Book 1: Il primo libro de madrigali … con alcuni di detti madrigali nel chittarrone: Tirsi mio, caro Tirsi02:43
- 11Sinfonie et gagliarde, Book 1: Il primo libro delle sinfonie e gagliarde: Sinfonia undecima (in echo)01:10
- 12Madrigali à 5, Book 1: Il primo libro de madrigali … con alcuni di detti madrigali nel chittarrone: Anima del cor mio02:08
- 13Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12: Corrente terza01:35
- 14Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12: Brando primo01:39
- Claudio Monteverdi:
- 15Madrigals, Book 8 (Madrigali, libro ottavo) "Madrigali guerrieri, et amorosi", SV 146-167: Il ballo delle ingrate in genere representativo, SV 16706:03
- Salamone Rossi:
- 16Il quarto libro de varie sonate, sinfonie, gagliarde, brandi e corrente: Sonata prima03:45
- Biagio Marini (1594-1663):
- 17Per ogni sorte di strumento musicale diversi generi di sonate, Op. 22: Sonata sopra, "Fuggi dolente core"02:40
- Giuseppino del Bialo:
- 18Fuggi, fuggi, fuggi da questo cielo01:51
- Gasparo Zanetti (ca. 1600-1660):
- 19Il scolaro … per imparar a suonare di violino: La Mantovana02:26
- Claudio Monteverdi:
- 20L'Orfeo, SV 318: Prologo: Ritornello00:43
- 21L'Orfeo, SV 318: Act II: Sinfonia - Aria: Ecco pur ch'à voi ritorno00:58
- 22L'Orfeo, SV 318: Act II: Ritornello00:33
- 23L'Orfeo, SV 318: Act II: Ritornello: Gagliarda - Aria: Vi ricorda o bosch'ombrosi02:10
- 24L'Orfeo, SV 318: Act IV: Sinfonia (Chromatica)01:23
- 25L'Orfeo, SV 318: Act IV: Ritornello … Qual honor di te fia degno01:12
- 26L'Orfeo, SV 318: Act V: Moresca01:05
- Salamone Rossi:
- 27Il terzo libro de varie sonate, sinfonie, gagliarde, brandi e corrente, Op. 12: Sonata in dialogo detta la Viena03:56
Info for Monteverdi & Rossi: Balli & Sonate
When Claudio Monteverdi arrived at the court of Mantua, he was initially engaged as a viol player. This is an aspect of his musical personality that is too often forgotten. Yet his brother Giulio Cesare reminds us in a letter that his improvisations on the viol alla bastarda were remarkable. At the time of his arrival, instrumental music played an important role at the court, which was dominated by the personalities of several musicians, chief among them the violinist Salomone Rossi. This programme illustrates the richness of the instrumental repertory at the Mantua court with the compositions of this virtuoso. But Monteverdi too was a master in the domain of instrumental music, which he handled with exceptional skill, as may be heard in the ballets of L’Orfeo, in the Ballo delle ingrate and in certain madrigals, such as Tempro la cetra, where the concertante role of instruments is fundamental. This evocation of music in Mantua at the time of Monteverdi also includes the irresistible Ballo di Mantova, a popular song that went through countless instrumental arrangements.
The Clematis is a sweet-smelling flower that represents the principles of idealism and of creativity. Such a name for an ensemble specialising in baroque music is more than justified, for it is creative in that this repertoire can only live if it receives an interpretation based on inspiration and renewal; it is idealistic in that such creative inspiration must of necessity be based on a great respect for the work as it appears in its original sources.
The violinist Stéphanie de Failly founded Clematis in 2001 with the intention of concentrating on the lesser-known repertoire of the 17th century. The ensemble performs extensively from the Italian repertoire of the period as well as French and German works, although with a particular interest in the forgotten works of such composers from the Low Countries of the time as Nicolaus à Kempis, Carolus Hacquart and Giuseppe Zamponi. Clematis also made a performing version and gave the first performance in modern times of Zamponi’s opera Ulisse nell isola di Circe, complete with a splendid cast of singers; the opera had first been given in Brussels in 1650.
The number of musicians involved with Clematis varies in number, as they are chosen in relation to the needs of the works being performed at any given moment; its musicians are all actively engaged with leading baroque ensembles throughout Europe. The ensemble’s desire for historical authenticity leads it to work closely with musicologists so that its programmes can be as close to the original sources as possible. Clematis appears not only in Belgium but also performs frequently abroad: it has so far appeared in the Netherlands, France, Israël, Italy, Spain, Poland, Bolivia, Mexico and Russia.
Clematis’ is very much concerned with Italian instrumental music of the 17th century, and in particular with the development of the violin repertoire; this can be seen in their recordings of works by Carlo Farina, Giovanni Battista and Tomaso Antonio Vitali. Their most recent CD is devoted to the works of Giovanni Legrenzi and was released in May 2016.
Another of Clematis’ concerns is German sacred and instrumental music from the beginning of the 17th century to the first works of J.S. Bach. Such programmes of vocal music clearly require superb soloists such as Mariana Flores, Juliette Perret, Deborah Cachet, Paulin Bündgen, Zachary Wilder, Philippe Favette and others.
Clematis also collaborates regularly with the various other ensembles led by Leonardo Garcia Alarcon, including the Capella Mediterranea and the Chamber Choir of Namur; this was also the case for the recording devoted to the secular works of Mattheo Romero and to CARMINA LATINA, a collection of baroque music from Latin America.
Clematis has made many recordings; its output has only benefited from the enthusiastic reports it has received from distinguished critics.