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CHAN 0651
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CHAN 0651
Capriccio stravagante, Vol. 1

Capriccio Stravagante, Vol. 1

The Classical Shop
release date: October 2000

Originally recorded in 2000

Artists:

Robert Woolley

harpsichord/organ

Purcell Quartet


His Majestys Sagbutts & Cornetts



Venue:

St Jude on the Hill, Hampstead, London



Producer:

Martin Compton



Engineer:

Ben Connellan



Record Label
Chaconne

Genre:

Chamber


Early Music

Total Time - 67:52
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Capriccio stravagante, Vol. 1

 

CARLO FARINA

(c. 1600-c. 1640)
Select Complete Single Disc for
1 

Capriccio stravagante

16:02
  violin, two violas, bass violin and harpsichord  
 

MICHELANGELO ROSSI

(1601/2-1656)
2 

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

4:09
  organ  
 

BIAGIO MARINI

(c. 1587-1663)
3 

Capriccio modo di Lira, Op. 8

2:07
  violin and theorbo  
4 

Capriccio 14, Op. 8

4:07
  two violins, organand theorbo  
 

GIOVANNI PICCHI

(fl. 1575-1630)
5 

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

3:36
  two violins, viola, bass violin, four trombones, organ and theorbo  
 

GIROLAMO FRESCOBALDI

(1583-1643)
6 

Toccata prima from 'Il secondo libro di Toccate'

3:19
  organ  
7 

Canzona sesta from 'Canzoni da sonare'

1:56
  violin, two violas, bass violin and theorbo  
 

DARIO CASTELLO

(1590-1644)
8 

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

4:39
  two violins, bass violin, organ and theorbo  
 

GIOVANNI BATTISTA BUONAMENTE

(late 16th century- c. 1642)
9 

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

5:10
  two violins and viola da gamba  
 

FRANCESCO TURINI

(c. 1589-1656)
10 

Sonate a due canti from 'Madrigali, libro primo'

3:59
  two violins and organ  
 

TARQUINIO MERULA

(1594/5-1665)
11 

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

2:58
  two violins and organ  
 

GIROLAMO FRESCOBALDI

12 

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

2:19
  harpsichord  
 

TARQUINIO MERULA

13 

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

2:47
  two violins, bass violin and organ  
 

GIOVANNI BATTISTA VITALI

(1632-1692)
14 

Capriccio secondo, Op. 7

6:54
  two violins, bass violin and organ  
 

MICHELANGELO ROSSI

15 

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

3:50
  organ  
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)



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