LE LACRIME DI EROS
The mixture of pain and pleasure became highly appreciated by mid 17th century Italy, at the same time exultant and prudish, outshining though fading away. According to the Catholic Counter-Reformation ideas, there was no pleasure without guilt, nor delight without punishment. True Love can only be but the reward to soul torturing. Its sweetness increases with the bitterness of previous suffering. Carnal Love is the forbidden drug, hence mysterious and irresistible, ever-lastingly desirable. We will see it served in all possible tastes: delightful in Landi; woeful in Bovicelli; joyful in Frescobaldi; hopeful beyond hope in Monteverdi; piquantly erotic in the image of Mary Magdalene standing by the Cross. Only Marini will unconvincingly ask Cupid for some mercy to our desire.
Fahmi Alqhai — Viola da gamba & direction
Mariví Blasco — Soprano
Rami Alqhai — Viola da gamba
Johanna Rose — Viola da gamba
Enrike Solinís — Theorbo & baroque guitar
Javier Núñez — Harspichord
Pedro Estevan — Percussion
Sinfonia Grave
Salamone Rossi (c.1570-1630)
Amanti io vi so dire
Benedetto Ferrari (1597-1681)
Sonata sopra l’aria di Tordiglione
Salamone Rossi
Gioite, o selve, o venti
Girolamo Frescobaldi (1583-1643)
Liquide perle Amor & diminution
Luca Marenzio (1553?-1599)
Si dolce è’l tormento
Claudio Monteverdi (1567-1643)
Damigella tutta bella
Stefano Landi (1590-1639)
Tocata per B quadro del ?
Francesco Maria Bassani (1620-1622)
Io son ferito ahi lasso
Giovanni Battista Bovicelli (fl.1594)
A pie della gran croce
Girolamo Frescobaldi (1583-1643)
Sonata V
Salamone Rossi
Ancor che co’l partire
Richardo Rogniono (c.1555-1620) sobre el madrigal de Cipriano de Rore
Novello Cupido
Biagio Marini (c.1597-1665)