℗ 2018 Stradivarius
 

Venite amanti, Frottole & Madrigals from the Italian Renaissance

Barbara Zanichelli, Luca Pianca

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1.1
Ostinato vò seguire
Bartolomeo Tromboncino; Barbara Zanichelli; Luca Pianca
3:42
1.2
Quando andaratu al monte
Giovanni Pietro Mantovano; Barbara Zanichelli; Luca Pianca
4:27
1.3
Allala la pia calia
Orlande de Lassus; Barbara Zanichelli; Luca Pianca
2:47
1.4
Io mi pensai
Jacques Arcadelt; Barbara Zanichelli; Luca Pianca
3:39
1.5
A la guerra a la guerra
Bartolomeo Tromboncino; Luca Pianca
2:36
1.6
Venite amanti
Costanzo Festa; Barbara Zanichelli; Luca Pianca
2:24
1.7
Chi non sa, chi non intende
Bartolomeo Tromboncino; Barbara Zanichelli; Luca Pianca
2:02
1.8
O triumphale diamante
Giorgio Luppato; Barbara Zanichelli; Luca Pianca
2:43
1.9
O bon, egli è bon
Marchetto Cara; Barbara Zanichelli; Luca Pianca
2:31
1.10
Se mai per maraveglia
Anonymous; Barbara Zanichelli; Luca Pianca
5:52
1.11
Oimè il cor aime la testa
Marchetto Cara; Barbara Zanichelli; Luca Pianca
2:42
1.12
Non è tempo d'aspectare
Marchetto Cara; Barbara Zanichelli; Luca Pianca
3:00
1.13
Madonna io sol vorrei
Philippe Verdelot; Barbara Zanichelli; Luca Pianca
3:55
1.14
Hor vendut'ho la speranza
Marchetto Cara; Barbara Zanichelli; Luca Pianca
1:40
1.15
Madonna qual certezza
Philippe Verdelot; Barbara Zanichelli; Luca Pianca
3:29
1.16
Voi che passate qui firmate il passo (Epilogue: Carpe diem - In which the theme is vain hope
Francesco Varoter; Barbara Zanichelli; Luca Pianca
3:10
Total Playing Time    50:39
The frottola genre derived from the oral tradition of executing variations on existing melodies. Above all they were compositions with several strophes and gradually became a cultivated practice, as it was linked to the virtuoso capacities of singers and 'cantori al liuto (singing lutenists). It came to be expressed in three- or four-part compositions where the first part stood out: it carried the melody and its variations, with as counterpoint a tenor, still quite melodic, a supporting bassus and altus, and the least cantabile of all the voices, which interplayed with the tenor. Barbara Zanichelli was born in Parma, where she earned her diploma at the conservatory in violin before going on to study voice with the Russian teacher Anatoli Goussev in Milan. She furthered her studies of performance practice in baroque music with Cristina Miatello, Claudine Answermet and Roberto Gini. She is joined here by Italian-Swiss lutenist Luca Pianca, who has been championing his instrument since the early 1980s.
44.1 kHz / 24-bit PCM – Stradivarius Studio Masters

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