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CHAN 0660
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CHAN 0660

Marini: Affetti Musicale

The Classical Shop
release date: August 2000

Originally recorded in 1999

Artists:

Il Viaggio Musicale



Venue:

Chiesino di S.Elisabetta, Albese con Cassano, Italy



Producer:

Gian Andrea Lodovici



Engineer:

Marco Lincetto



Record Label
Chaconne

Genre:

Chamber


Early Music

Total Time - 64:45
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BIAGIO MARINI

(c. 1587-1663)
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Affetti musicali, Op. 1

64:44  
1 I La Zorzi. Sinfonia grave a 3. Doi violini e basso 3:17
  two violins, violone, theorbo, harp and organ  
2 II La Giustiniana. Sinfonia a 3. Doi violini o cornetti e basso 1:59
  two cornetts, trombone and organ  
3 III La Orlandina. Sinfonia per un violino o cornetto e basso se piace 2:18
  violin, violone, theorbo and harp  
4 IV La Zoppa. Sinfonia allegra a 3. Doi violini, e basso 1:19
  two violins, bass dulcian, theorbo and virginal  
5 V La Gambara. Sinfonia a e. Doi violini o cornetti e basso 2:46
  two cornets, bass dulcian, theorbo and organ  
6 VI La Soranza. Aria a 3. Doi violini e basso 2:14
  two violins, violone, soprano dulcian, guitar and virginal  
7 VII La Boldiera. Aria a 3. Doi violini e basso 2:18
  two violins, theorbo, harp and virginal  
8 VIII La Marina. Canzone a 3. Doi tromboni e cornetto o violino 1:42
  cornett, two trombones and organ  
9 IX La Foscarina. Sonata a 3. Con il Tremolo. Doi violini o cornetti e trombone o fagotto 4:45
  two violins, bass dulcian, theorbo and organ  
10 X Il Vendramino. Balletto overo Sinfonia a 3. Doi violini o cornetti e basso 2:37
  cornett, violin, bass dulcian and organ  
11 XI La Caotorta. Gagliarda a 2. Violino e basso 1:37
  violin, bass dulcian, guitar, virginal and woodblocks  
12 XII La Candela. Sinfonia breve a 2. Violini o cornetti 1:16
  two cornetts, bass dulcian and virginal  
13 XIII La Vetrestain. Corrente a 2. Violino e basso 1:18
  violin and theorbo  
14 XIV La Ponte. Sonata a 2. Violino o cornetto e basso 2:13
  cornett, bass dulcian, theorbo and organ  
15 XV L'Aguzzona. Sonata a 3. Doi violini e fagotto 4:18
  two violins, bass dulcian, theorbo and virginal  
16 XVI L'Albana. Sinfonia breve a 2. Violini o cornetti 1:53
  two cornetts, theorbo and organ  
17 XVII Il Monteverde. Balletto alemano a 2. Violino e basso 2:29
  violin, bass dulcian, theorbo and virginal  
18 XVIII La Martinenga. Sinfonia a 2. Violini o cornetti 2:30
  two violins, theorbo and harp  
19 XIX La Bemba. Canzone a 2. Violini o cornetti in Ecco 3:22
  violin, cornett, harp and virginal  
20 XX Il Boncio. Brando a 2. Violiino e basso 2:34
  violin, violone, cornett, trombone, bass dulcian, theorbo, harp and organ  
21 XXI Il Barizone. Brando a 3. Doi violini e basso 2:22
  two violins, bass dulcian, guitar, virginal, two cornetts, trombone and organ  
22 XXII Il Zontino. Balletto a 3. Doi violini e basso. Ad imitation di viole grosse 2:01
  two violins, violone and virginal  
23 XXIII La Bocca. Sinfonia allega a 3. Doi violini e basso 1:19
  cornett, violin, violone, trombone, theorbo and virginal  
24 XXIV La Cornera. Sinfonia a 2. Violini o cornetti 2:29
  two cornetts, trombone, theorbo and organ  
25 XXV La Gardana. Sinfonia per un violino o cornetto solo 2:22
  violin and virginal  
26 XXVI La Martia. Corrente a 3. Doi violini e basso 1:26
  two cornetts, trombone, organ, two violins, dulcian, theorbo and harp  
27 XXVII La Hiacintina. Canzone a 2. Violino o cocrnetto e trombone. De. M.R.P. Hiacinto Bondioli zio del autore 4:01
  violin, trombone and organ  
  Easter 1999  
The early music ensemble Il Viaggio Musicale make their Chandos debut on Chaconne.

This is the only complete recording available of Marini’s Opus One, the ‘Affetti musicale’.

Marini lived and worked in Venice, and acquired an unbridled enthusiasm for new music at a time when the ‘moderna prattica’ and ‘stil moderno’ were anything but accepted in the musical life of Italy.


When Biagio Marini published his Opus One, the ‘Affetti musicali’ in 1617, he had been living in Venice for two years, employed by the City Council as a musician and by St Mark’s as a violinist. This is significant because, as the famous Claudio Monteverdi had been the ‘Maestro di cappella’ at St Mark’s since 1613, there is every possibility that Marini studied with the great Cremonese master as well as with Giovanni Battista Fontana, his teacher in his home town of Brescia.

The book contains twenty-seven compositions, of which twenty-six are by Marini himself and one (added here as an appendix) by Giacinto Bondioli, a Dominican friar who preached in Brescia and was Marini’s uncle. Each piece is named after and dedicated to an important Venetian family or individual member of it. Most of the instrumental genres current at the time are represented in the publication. They fall into two categories, defined by the terms ‘da chiesa’ (‘for the church’) and ‘da camera’ (‘for the chamber’, implying secular use). The distinction is important because at the time, in the early seventeenth century, the two were just beginning to move apart. The ‘da chiesa’ works in the ‘Affetti musicali’ are defined as ‘Sinfonie, Sonate’ and ‘Canzoni’, the ‘da camera’ ones as ‘Balletti’, ‘Arie’, ‘Brandi’, ‘Gagliarde’ and ‘Correnti’.

The sonata was the most prevalent genre on the seventeenth century, and its greatest development took place during this period. Its form was not clearly defined to begin with, the term often being interchangeable with sinfonia or canzone. It is in these very sonatas that the reason behind Marini’s title for this collection is seen most clearly. The ‘Affetti musicali’ are in fact those technical means, typical of Italian baroque music, that enable the passions inherent in the music to be expressed, the character of each section within the work to be distinguished.


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Servizio ottimo e utilissimo.
G Battelli