Capriccio Stravagante, Vol. 1

The Purcell Quartet presents unusual works by Italian composers.

This is the first of two discs featuring rarely recorded works by composers such as Marini, Frescobaldi and Picchi, which were popularly heard in the courts of the time.

The Purcell Quartet are acclaimed performers of early music and receive excellent reviews from the press

In quantity and quality the 1620s represents a high point in Italian instrumental music. Or more precisely, Northern Italian, for, despite the amazing diversity, most of these composers were natives of a remarkably confined geographical area – Turini and Marini from Brescia, Farina and Buonamente from Mantua, and Merula from Cremona – a radius of about 50 miles. As it happens, during the 1620s all but Turini took the common career route to an Italianate court north of the Alps – Carlo Farina to Dresden, Biagio Marini to Neuberg, Giovanni Battista Buonamente to Vienna, and Tarquino Merula to the Polish Court, although all had returned by 1631. Giovanni Picchi and Dario Castello in Venice may well have felt themselves somewhat apart as it was the Venetians who generally set the trends. The success of Castello’s Sonate concertante (1621, 1629) no doubt prompted Merula to borrow the title for his Libro terzo in 1637, and la Cattarina actually borrows the opening of a canzona by Gabrieli. Nevertheless, Castello’s Book 2 was dedicated to Emperor Ferdinand II, Buonomente’s patron, suggesting that they shared common aspirations of employment.

Regional factors are paramount in Italian instrumental music. Frescobaldi’s Primo libro delle canzoni (1628), although written in Rome, betrays his Ferrarese origins, but with many adaptations to local conditions. His keyboard style also blended northern influences with elements of the Roman and Neapolitan schools.

The virtuosic violin writing of Farina and Marini was the most advanced of its day. Farina’s Capriccio stravagante (1627) uses such violinistic tricks as col legno, sul ponticello, glissando and multiple stopping to depict the barking of dogs and meowing of cats.

‘The playing is infectiously uninhibited and technically immaculate – a programme of unqualified pleasure’.

BBC Music Magazine

‘…this release brings nothing but pleasure both in the music and the stylish and lively performances of all involved.’

Gramophone on CHAN 0653 (Bach)

‘…order this at once… a strong recommendation.’

Early Music Review on CHAN 0646 (Weckmann)

‘These are clean-cut highly enjoyable performances.’

The Guardian on CHAN 0641 (Bach)

No User Reviews Found.

Capriccio Stravagante, Vol. 1

Robert Woolley

Purcell Quartet

His Majestys Sagbutts & Cornetts

St Jude on the Hill, Hampstead, London

Martin Compton

Ben Connellan

Chamber

Capriccio stravagante, Vol. 1

CARLO FARINA

Capriccio stravagante

MICHELANGELO ROSSI

Toccata terza froom 'Toccate e correnti d'intavolatura d'organo e cimbalo'

BIAGIO MARINI

Capriccio modo di Lira, Op. 8

Capriccio 14, Op. 8

GIOVANNI PICCHI

Canzon decima nona a doi chori from 'Canzoni da sonar'

GIROLAMO FRESCOBALDI

Toccata prima from 'Il secondo libro di Toccate'

Canzona sesta from 'Canzoni da sonare'

DARIO CASTELLO

Sonata decima from 'Sonate concertate in stil moderno, libro secondo'

GIOVANNI BATTISTA BUONAMENTE

Sonata quinta sopra 'Poi che noi rimena' from 'Il quarto libro de varie sonate'

FRANCESCO TURINI

Sonate a due canti from 'Madrigali, libro primo'

TARQUINIO MERULA

La Cattarina from 'Canzoni overo sonate concertate per chiesa e camera, libro terzo'

GIROLAMO FRESCOBALDI

Capriccio sopra la Battaglia from 'Toccate d'intavolatura di cimbalo et organo, libro primo'

TARQUINIO MERULA

Chiacona from 'Canzoni overo sonate soncertate per chiesa e camera, libro terzo'

GIOVANNI BATTISTA VITALI

Capriccio secondo, Op. 7

MICHELANGELO ROSSI

Toccata settima from 'Toccate e correnti d'involatura d'organo e cimbalo'