AMORI DI MARTE
MADRIGALI GVERRIERI, ET AMOROSI. Claudio Monteverdi
Listening to the Lament of the Nymph or to Il Combattimento di Tancredi e Clorinda, in the musically-cherished versions by Fahmi Alqhai and the Accademia del Piacere, I was able to notice that, strange though it may seem, time ceases to be. Quoting Fray Luis de León: “the air becomes still and dresses with beauty and with spotless light…” Calmness, beauty, special light. Hardly can someone express the sorrow for the beloved’s absence in a more sensitive, dramatic way as Monteverdi does in his Lament of the Nymph. His music most gently accompanies the lines in which the betrayed woman sadly complains. An unrequited love story, inspired on a canzonetta by Ottavio Rinuccini, to which Monteverdi sets a kind of music that combines melancholy and reflection. “So, in lovers’ hearts, Love mixes fire and ice.” Bellissimo.
Juan Ángel Vela del Campo
Juan Sancho — Tenore
Marivi Blasco — Soprano
Victor Sordo — Tenore
Fahmi Alqhai — Violino da gamba & direzione
Rodney Prada — Violino da gamba
Johanna Rose — Viola da gamba tenore
Rami Alqhai — Viola da gamba bassa
Javier Núñez — Cembalo
Enrike Solinís — Arciliuto
Pedro Estevan — Percussione
Toccata
Combattimento di Tancredi e Colrinda
Non Verdò mai le stelle
(disiminución Fahmi Alqhai)
Sinfonia “Il Ritorno di Ulisse in Patria”
Improvisaciones sobre la passacaglia
Lamento della Ninfa
Entrata del Ballo delle Ingrate
Passacaglia
(Biaggio Marini 1594-1663)
Ed è pur dunque Vero Sinfonia Prima “Vaghi concenti” Tempro la Cetra