Utwory na płycie:

• Libro quarto d’intavolatura di chitarrone (1640): Toccata IX
• Cantata spirituale ‘Queste pungenti spine’ - I. Prima parte
• Cantata spirituale ‘Queste pungenti spine’ - II. Seconda parte
• Cantata spirituale ‘Queste pungenti spine’ - III. Terza parte
• Cantata spirituale ‘Queste pungenti spine’ - IV. Ultima parte
• L’argia
• Canzone quarta a 2 canti
• Fiori musicali
• Pianto della Madonna (Stabat mater)
• Sonata a violino solo opera IV
• Sinfonia grave a 5
• Si dolce è’l tormento, SV 332
• Sonata XII opera XVI (intro)
• Canzonetta spirituale sopra alla nanna ‘Hor ch’è tempo di dormire’
• Sonata XXVI sopra ‘La Prosperina’ opera IV

Girolamo Frescobaldi:
Canzone Quarta A 2 Canti
Fiori Musicali - Toccata Per Le Levatione

Giovanni Felice Sances:
Pianto Della Madonna (Stabat Mater)

Giovanni Antonio Pandolfi Mealli:
Sonata A Violino Solo Opera - IV. La Vinciolina

Salamone Rossi:
Sinfonia Grave A 5

Claudio Monteverdi:
Si Dolce E’L Tormento, Sv 332

Isabella Leonarda:
Sonata XII Opera XVI (Intro)

Tarquinio Merula:
Canzonetta Spirituale Sopra Alla Nanna ‘Hor Ch’E Tempo Di Dormire’

Marco Uccellini:
Sonata XXVI Sopra ‘La Prosperina’ Opera IV

Giovanni Girolamo Kapsberger:
Libro Quarto D’Intavolatura Di Chitarrone (1640) - Toccata IX

Benedetto Ferrari:
Cantata Spirituale ‘Queste Pungenti Spine’

Marc’ Antonio Cesti:
L’Argia - Alma Mia

The lament is a literary genre that developed – with various names – in Roman languages in the Middle Ages, which typically involves a character complaining in the first person about unrequited love, loss or even their own death. It became very popular in Italy during the Renaissance, due predominantly to the expansion of the publishing industry and renewed interest in the Greek and Latin classics, for example the laments Ludovico Ariosto borrowed from Ovid, including the weeping Olympia. The economic crisis of the early seventeenth century and the remorseful climate of the Counter- Reformation inspired authors to write ever-greater numbers of sacred and secular laments, and these were increasingly frequently in verse form, designed to be set to music.

On this recording, featuring Norwegian Baroque ensemble Oslo Circles and mezzo-soprano Marianne Beate Kielland, the listener will hear examples of the lament form by Italian composers such as Frescobaldi, Mealli, Merula, Uccellini, Kapsberger, Monteverdi and others.

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Recorded in Sofienberg Church, Oslo, 18-21 June 2020.