Marini - Heritage of Monteverdi

L'Heritage de Monteverdi III
Marini - Moderne e Curiose Inventioni...
Kiehr / Elwes / La Fenice - Jean Tubéry
Ricercar 205852

Contents:

    I. Un concerto a cá Soranzo
  1. Intrada - Canzon octava (2 violins, 2 cornets, 4 sackbuts; organ, harpsichord, violone, theorbo)
  2. Sonata seconda, violino e cornetto (violin, cornet; viol, theorbo, harpsichord)
  3. Anon: Madre non mi far monaca (soprano, theorbo)
  4. Sonata sopra la Monica (2 violins; viol, harpsichord)
  5. Aria "la Soranza" (2 cornets, soprano; theorbo, harpsichord, sackbut)
  6. Capriccio per 2 violini che suonamo quattro corde (2 violins; viol, harpsichord, theorbo)
  7. Grotte ombrose, madrigale in echo con sinfonie (soprano, 3 cornets; harpsichord, theorbo)

    8. II. Per la capella del castello
  8. Sonata per organo e cornetto (alto cornet, organ)
  9. Sonata La Foscarina per 2 cornetti e trombone (2 cornets, sackbut; organ)
  10. Ligature e durezze (organ)
  11. Canzon prima a quattro cornetti (4 cornets, organ)

    12. III. Lagrime di Davide sparse nel Miserere
  12. Sinfonia - Passacalio a quattro (muted cornet, 3 sackbuts; organ, violone, theorbo)
  13. Miserere a tre voci (soprano, tenor, baritone; organ, theorbo, violone, chitarrone, lirone)

Performers: Jean Tubéry (cornet, muted cornet), Gebhard David (cornet), Yoshimichi Hamada (cornet), Frithjof Smith (cornet), Enrico Parizzi (violin), Roberto Falcone (violin), Jean-Jacques Herbin (sackbut), Serge Guillou (sackbut), Ole Anderson (sackbut), Franck Poitrineau (bass sackbut), Jean-Marc Aymes (harpsichord, organ), Jörg Andreas Bötticher (organ, harpsichord), Arno Jochem (viol, violone), Christina Pluhar (theorbo), Matthias Spaeter (chitarrone), Paulina Van Laarhoven (lirone), Maria Cristina Kiehr (soprano), John Elwes (tenor), Ulrich Messthaler (baritone)

Playing time: 54'

Recording date: July 1996 & November 1995 (track #13)

This program is a further illustration of Marini's role integrating the virtuoso vocal style with an idiomatic instrumental technique. This is in sharp to distinction to the earlier subservient position which instruments occupied, frequently as generic entities.

The last two tracks are of special interest, being Marini's final essays in the instrumental & vocal idioms respectively.

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Todd M. McComb