Portrait of the Artist as a Starved Dog: Madrigals by Cipriano de Rore
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Label: Glossa - Platinum
Cat No: GCDP32114
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 15th December 2017
Contents
Works
Non son io che pai' in visoAlcun non puo saper da chi sia amato
Beato mi direi
Come la notte ogni fiammella e viva
Convien ch'ovunque sua sempre cortese
Dissimulare etiam sperasti
Era il bel viso suo qual'esser suole
L'inconstantia che seco han
L'ineffabil bonta del Redentore
La giustitia immortale
Mentre, lumi maggior
Mia benigna fortuna
O morte eterno fin
Poi che m'invita Amore
Se ben il duol
Se come il biondo crin de la mia Filli
Queste non son piu lagrime
Artists
GraindelavoixConductor
Bjorn SchmelzerWorks
Non son io che pai' in visoAlcun non puo saper da chi sia amato
Beato mi direi
Come la notte ogni fiammella e viva
Convien ch'ovunque sua sempre cortese
Dissimulare etiam sperasti
Era il bel viso suo qual'esser suole
L'inconstantia che seco han
L'ineffabil bonta del Redentore
La giustitia immortale
Mentre, lumi maggior
Mia benigna fortuna
O morte eterno fin
Poi che m'invita Amore
Se ben il duol
Se come il biondo crin de la mia Filli
Queste non son piu lagrime
Artists
GraindelavoixConductor
Bjorn SchmelzerAbout
As with many Graindelavoix recordings on Glossa, the accompanying artwork in the CD booklet forms an integral part of the convincing performance (as does Schmelzer’s essay). Here, the imagery includes images by Albrecht Dürer and Hans Mielich, statues of Melpomene and Medusa, sculptures by Michelangelo, even a sardonyx cameo cup. A portrait of De Rore shows the inner likeness of the composer as being possessed of a manic madness or “furor divinus” and having the guise of an emaciated dog.
De Rore was born in Ronse – not that far from Schmelzer’s Antwerp – and, as well as probably being under the protection of Margaret of Parma, he travelled through Europe in the first half of the sixteenth century, notably to Ferrara. Regarded as a pivotal figure in the evolution of the madrigal, De Rore’s style developed significantly across his career and Graindelavoix’s programme gravitates from some of his settings of stanze from Ariosto’s epic poem Orlando furioso through to some of his later, much more radical madrigals. Also found on this recording is De Rore’s multi-voiced setting of Dido’s lament from Virgil’s Aeneid.
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