On November 18, 2022, Naïve Classiques will release MONTEVERDI: Concerto. Settimo libro de’ madrigali, the latest from Rinaldo Alessandrini and his Concerto Italiano.

Five years separate the publication of Monteverdi’s Sixth Book of Madrigals (1614) from the Seventh (1619): Concerto. Settimo Libro de Madrigali a 1.2.3.4 & Sei voci, con altri generi de Canti, published in Venice by Bartolomeo Magni.

“The stylistic rupture between the Sixth and Seventh Books is evident,” notes Alessandrini. “We move from an anthology generally conceived, as in the previous books, for a group of five singers (though already accompanied by continuo in the second part of the Sixth Book) to an almost total renunciation of the premise of an exclusively vocal, polyphonic composition, often still entailing a contrapuntal dimension.”

Inspired by “the hitherto unpublished stamp of a literary intention” indicated by Monteverdi at the start of the collection, Rinaldo Alessandrini arranges the madrigals by poet in this two-disc set.

“In Book VII,” Alessandrini explains, “a new musical concept comes to light. The relationship with the text is different, radically so. We are not only attempting a new and ideal imitation of the text, but we also endeavor to install the music in a more obviously narrative dimension through our performance.”

“In this recording we decided not to follow the published order of the book, but to retrace certain poetic strands, while also establishing a certain symmetry between the two CDs,” continues Alessandrini. “This is why the texts by Marino and Guarini are presented in a single block, followed by the other compositions arranged to ensure varied alternation of instruments and musical situations. Where they exist, we have retained the introductory headings of each poetic text, quoting them from the first printed editions; they are essential for understanding the expressive and cultural context of early seventeenth-century Italian poetry.”

Along with the collection of madrigals are the “other types of song” (altri generi de Canti) that the composer chose to include in the book. To this section belong the most atypical pieces: “Con che soavità”, a lengthy composition accompanied by highly complex and unusual instrumentation; the “Romanesca” for two sopranos; and two “letters” for solo voice and two canzonettas with instruments.

CD 1:
Prologo
Sinfonia – “Tempro la cetra” – Sinfonia – [Balletto] – Sinfonia
“Il luogo de’ suoi amori”
“A quest’olmo, a quest’ombre ed a quest’onde”
Texts by G. B. Marino: I “baci”
“Perché fuggi tra salci” | “Vorrei baciarti, o filli” | “Tornate, o cari baci” | “Eccomi pronta ai baci”
Texts by C. Achillini
“Se i languidi miei sguardi” | “Ecco vicine, o bella tigre, l’hore”
Text by T. Tasso
“Al lume delle stelle”
Texts anonymous
“Non è di gentil core” | “Non vedrò mai le stelle” | “Oh viva fiamma” | “Augellin, che la voce al canto spieghi” | “Amor, che deggio far”

This elegantly crafted, beautifully sculptured new recording opens on the dulcet elegance of Prologo: Sinfonia – “Tempro la cetra” – Sinfonia – [Balletto] – Sinfonia, all of which are, as expected, Renaissance-attired and thusly flow as if they were a crystalline waterfall.

For “Il luogo de’ suoi amori” we get the Choir-like “A quest’olmo, a quest’ombre ed a quest’onde” which is itself followed by Texts by G. B. Marino: I “baci”: which opens on the vibrantly-aesthetic “Perché fuggi tra salci” and the opulent “Vorrei baciarti, o filli,” the cultured “Tornate, o cari baci” and culminates with the effortless fancy found within “Eccomi pronta ai baci.”

Along next is Texts by C. Achillini which opens on the languishing beauty within “Se i languidi miei sguardi” and culminates on the more studious “Ecco vicine, o bella tigre, l’hore,” and that is backed by Text by T. Tasso’s earnestly cultured “Al lume delle stelle.”

The first disc rounds out with Texts anonymous: the graceful allure of “Non è di gentil core” and the gently euphoric “Non vedrò mai le stelle,” before we are brought forth the dainty fare of “Oh viva fiamma,” the disc closing on the veritably coralistic “Augellin, che la voce al canto spieghi” and the gentle dance floor swirl of “Amor, che deggio far.”

CD 2:
Entrata grave (B. Marini)
Texts by G. B. Guarini
“Con che soavità” | “Dice la mia bellissima licori” | “Parlo, miser, o taccio?” | “Se’l vostro cor, madonna” | “Interrotte speranze, eterna fede”
Text by B. Tasso
“Ohimé, dov’è il mio ben?”
Texts by G. Chiabrera
“Soave libertate” l “Vaga su spina ascosa”
Texts anonymous
“Io son pur vezzosetta pastorella” | “Ah, che non si conviene” | “Tu dormi? Ah, crudo core” | “Se pur destina e vòle” | “Chiome d’oro, bel tesoro”

The second disc opens on the short, but sweet Entrata grave which then bleeds seamlessly into Texts by G. B. Guarini: which begins with the stately delivery within “Con che soavità” and then proceeds to bring us the courtly “Dice la mia bellissima licori,” the uplifting “Parlo, miser, o taccio?” and the more steely “Se’l vostro cor, madonna” and a dyed-in-the-wool “Interrotte speranze, eterna fede.”

We are then given Text by B. Tasso’s simply magnificent, flourishing “Ohimé, dov’è il mio ben?” which is followed by Texts by G. Chiabrera, where first we enjoy the sumptiously harmonious “Soave libertate” and a rather delightful “Vaga su spina ascosa,” before the disc, and the recording round out with Texts anonymous: and open with the playfully perky “Io son pur vezzosetta pastorella,” the fashionable “Ah, che non si conviene,” the comely “Tu dormi? Ah, crudo core,” the 10 minute musical wonderment that is “Se pur destina e vòle,” the elegantly dignified, flirtatious ballroom flit of “Chiome d’oro, bel tesoro” and a 12 minute Tirsi e Clori.

Monica Piccinini, Sonia Tedla SOPRANO | Elenza Carzaniga, Andres Montilla CONTRALTO/ALTO | Valerio Contaldo, Raffaele Giordani TENOR | Salvo Vitale BASS Concerto Italiano | Rinaldo Alessandrini HARPSICHORD, CONDUCTOR

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