Utwory na płycie:

• V'amai se voi - In van Lusinghi
• Piansi un tempo
• Fonti del mio dolor
• Damigella tutta bella
• Se per negarmi aiuto
• Partita sopra l'aria di Follia
• Aura soave
• Non vuò perder il cervello
• Gelido core
• Toccata VI
• Chi vuol acqua purissima
• Se l'onde, ohime
• Ho'l cor ferito
• Filli, cara Filli amata
• Chiaccona Piccini - T'amai gran tempo
• Non mi dar piu tormento

Stefano Landi:
1 V’amai se voi m’amaste & In van lusinghi
2 Piansi un tempo, arsi, gelai
3 Fonti del mio dolor
4 Damigella tutta bella
5 Se per negarmi aiuto
Girolamo Frescobaldi

6 Partita sopra l’aria di follia (Rome, 1615)

Luzzasco Luzzaschi
7 Aura soave (Rome, 1601)

Stefano Landi:
8 Non vuo’ perder il cervello
9 Gelido core . Giovanni G. Kapsperger:
10 Toccata VI (Rome, 1611)

Stefano Landi:
11 Chi vuol acqua purissima

Girolamo Frescobaldi:
12 Se l’onde, ohime

Stefano Landi:
13 Ho’l cor ferito
14 Filli cara, Filli amata
15 Ciaccona (Alessandro Piccinini) & T’amai gran tempo
16 Non mi dar piu tormento

This recording takes us inside the palaces of early 17th-centrury Rome and presents a fascinating array of compositions that served as background to the lives of the contrmporary aristocracy. As well as pieces by Stefano Landi, there are vocal and instrumental works by Girolamo Frescobaldi and Johann Hieronymus Kapsberger, two musicians who shared with Landi the patronage of the Barberini family. Stefano Landi was a musician who throughout his career was able to develop and significantly alter his compositional style, adapting to his environment. As with many other composers of his generation, his language was initially modelled on Renaissance polyphony before evolving towards solo vocal models intended to suit both chamber and operatic contexts, opera being a genre to whose creation he contributed.

Il Festino: Delighting the senses and uplifting the mind though poetry, gesture and music… there, in a few words, is a summary of this ensemble’s identity. In its interpretations, Il Festino aims to be faithful to the aesthetic and declamatory rules of the 17th century, applicable not only to singing and recitation but also to instrumental music, which they play on period instruments. The ensemble’s singers, actors and musicians are acclaimed interpreters of 17th- and 18th-century repertoire who also work with prestigious ensembles and companies such as Le Poeme Harmonique, the Centre de Musique Baroque de Versailles, Les Paladins, Le Parlement de Musique, Ensemble Elyma and Doulce Mémoire…