Prior to the group's pathbreaking, operatically dramatic performances of High Baroque music, Rinaldo Alessandrini and his Concerto Italiano made several recordings of Monteverdi's madrigals. The Book III set of 1592, however, is approached by the group for the first time here. The group brings to it two more decades of experience in the gestures and spirit of Baroque opera. Book III is ostensibly early Monteverdi, all a cappella, with a regular complement of voices, but the composer, by this time, had gotten wind of the new ...
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Prior to the group's pathbreaking, operatically dramatic performances of High Baroque music, Rinaldo Alessandrini and his Concerto Italiano made several recordings of Monteverdi's madrigals. The Book III set of 1592, however, is approached by the group for the first time here. The group brings to it two more decades of experience in the gestures and spirit of Baroque opera. Book III is ostensibly early Monteverdi, all a cappella, with a regular complement of voices, but the composer, by this time, had gotten wind of the new developments that would lead to opera, and his innovative ideas peek through the basic madrigal texture all the way through this set. Many opening lines, such as that in the second madrigal, O come è gran martire, seem as though they are about to launch into operatic declamation but then are polyphonically developed. Monteverdi could still write a densely melancholic and chromatic madrigal in the late 16th century style. The seconda prattica at this point is a hint in the air rather...
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Add this copy of Il Terzo Libro De Madrigali to cart. $31.48, new condition, Sold by Revaluation Books rated 4.0 out of 5 stars, ships from Exeter, DEVON, UNITED KINGDOM, published 2020 by Naive Classic.
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