Non e' tempo d'Aspettare

Non e' tempo d'Aspettare: Frottole dal Primo Libro di Franciscus Bossinensis
Roberta Invernizzi / Accademia Strumentale Italiana - Alberto Rasi
Stradivarius 33516

Marchetto Cara (c.1465-c.1525): Io non compro più speranza (voice, 3 viols, lute, cornet, dulcian)
Francesco Varoter (c.1460-1502): Chi vi darà più luce (voice, lute, 2 viols)
Cara: Oimè il cor oimè la testa (voice, 3 viols, lute, dulcian, percussion)
Antoine Busnois (c.1430-1492): Fortuna desperata (diminution; cornet, 2 viols)
Cara: Hor ho venduto la speranza (voice, 3 viols, lute, dulcian, percussion)
Bartolomeo Tromboncino (c.1470-c.1535): Lacryme e vol sospir (voice, 3 viols, lute, cornet, dulcian)
Cara: O mia ciecha e dura sorte (voice, lute, 3 viols)
Joan Ambrosio Dalza (fl.1508): Poi che volse la mia stella (lute)
Cara: Pietà cara signora (voice, lute, 3 viols)
Tromboncino: Zephiro spira il bel tempo rimena (voice, lute)
Anon, Codice di Trento, MS. 98, fol. 402: Fantasia (3 viols)
Tromboncino: Deh sì deh no deh si (voice, lute, 3 viols)
Tromboncino: Si è debil filo (voice, lute, 3 viols, cornet)
Dalza: Calata (lute)
Cara: Se de fede vengo a meno (voice, cornet, lute, 3 viols, percussion)
Tromboncino: Che debbo far (voice, lute, cornet, 3 viols)
Vincenzo Capirola (1474-c.1550): Padoana alla francese (lute)
Tromboncino: Poi che volse la mia stella (voice, lute)
Heinrich Isaac (c.1450-1517): Tar tara (3 viols)
Francesco Varoter: Voi che passate qui (voice, lute, 2 viols)
Cara: Non è tempo d'aspettare (voice, lute, 3 viols, percussion)

Performers: Roberta Invernizzi (soprano), Alberto Rasi (tenor viol), Paolo Biordi (treble & bass viol), Patxi Montero (bass viol), Béatrice Pornon (lute), Doron David Sherwin (cornet, percussion), Alberto Grazzi (dulcian)

Playing time: 63'

Recording date: January & February 1998 (Verona)

Excerpts:
[4], [8], [11], [12], [19] Cantus C 9705/6 Dictionary of Medieval & Renaissance Instruments

The frottola can increasingly be seen as a central musical genre of the Italian Renaissance, although it has been ignored for some time. The various poetic forms used in frottole act as a bridge between the Italian medieval idioms and those of the full-fledged Renaissance madrigal. However, more than that, the frottola was motivated sonically largely be a desire to separate main line and accompaniment, and of course this trend was to prove extremely significant. In many cases, songs in this style are produced by reducing polyphonic songs to main line and accompaniment, frequently by way of intabulation. Improvisation also played a large role in this development, and the frottola writers drew upon a broad range of sources, from the most learned polyphony to popular songs.

The context of the songs may have been a variety of social settings, including theatre. The two main composers in the genre, Marchetto Cara and Bartolomeo Tromboncino, were both from Verona and both were associated with the court of Isabella d'Este. She is thus seen as central to the development of the frottola. The frottola also was important in the early days of musical printing, as it was some of the first repertory to appear from Petrucci.

The source of the present program is the collection made by the lutenist Franciscus Bossinensis as published in Venice in 1509. Frottola publications were widespread in this period, but disappeared equally quickly by the 1540s. The present performance adpots a varied accompaniment, incorporating some improvisation and alternation.

Another program naming Bossinensis in the title:

Bossinensis: Petrarca ed il cantare a liuto: Teresa Nesci / Massimo Marchese
Tactus 450201

Other programs featuring the frottola:

Frottole: Popular Songs of Renaissance Italy
Ring Around Quartet & Consort
Naxos 8.573320
Cantar alla Pavana: Canzoni, Frottole, Villotte e Madrigali dell'Apografo Miscellaneo Marciano (1526)
Consort Veneto - Giovanni Toffano
Tactus 520002
Barzellette: Frottole Italiane del Cinquecento
Retrover - Markus Tapio
Opus 111 30-243
Voice and Lute in 16th century Venice: Zambon / Lonardi
Edelweiss 1016
Renaissance Music from the Courts of Mantua and Ferrara: Circa 1500 Ensemble
Chandos Chaconne 0524
Vergine bella: Sampson, Wilkinson, Podger, et al. - Robert Meunier
Chandos Chaconne 0683
Fire and Ice: Love Songs from 16th Century Venice
Musica Antiqua of London - Philip Thorby
Signum 035
Music of the Italian Renaissance: Shirley Rumsey
Naxos 8.550615
La Favola di Orfeo: Huelgas Ensemble - Paul Van Nevel
Sony Seon 60095 (2 CDs)
Frottole: Accordone - Marco Beasley & Guido Morini
Cyprès 1643

Some other recordings by the present ensemble:

Ruffo: Capricci a tre voci: Accademia Strumentale Italiana - Alberto Rasi
Stradivarius Dulcimer 33337
Purcell: Fantasias for the Viols: Accademia Strumentale Italiana - Alberto Rasi
Stradivarius 33357
Farina: Capriccio stravagante: Accademia Strumentale Italiana - Alberto Rasi
Stradivarius Dulcimer 33388
O Dolce vita mia: Musiche vocali e strumentali del Rinascimento italiano
Roberta Invernizzi / Accademia Strumentale Italiana - Alberto Rasi
Stradivarius Dulcimer 33396
Monteverdi: A voce sola, con sinfonie: Roberta Invernizzi / Accademia Strumentale Italiana - Alberto Rasi
Stradivarius 33562
Dowland: Come away, come sweet love: Roberta Invernizzi / Accademia Strumentale Italiana - Alberto Rasi
Stradivarius 33614
Marais: Les Folies d'Espagne: Accademia Strumentale Italiana - Alberto Rasi
Stradivarius "Echo" 35703
Cantar à la Venetiana: Al tempo e nei luoghi di Giorgione
Accademia Strumentale Italiana - Alberto Rasi
Stradivarius 33831
'Tis a singing age: Jenkins: Fantasies a 4
Accademia Strumentale Italiana - Alberto Rasi
Stradivarius 37002
Non posso abbandonarte: Canciones y danzas italianas, sec. XV-XVI
Roberta Invernizzi / Accademia Strumentale Italiana - Alberto Rasi
Cantus 9633
Dolcissimo sospiro: Caccini et al.
Roberta Invernizzi / Accademia Strumentale Italiana - Alberto Rasi
Divox Antiqua 70202

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Todd M. McComb

Non e' tempo d'Aspettare

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