‘Amor profano, amor sacro’: Musical orators of the 17th century
2020; Oxford University Press; Volume: 48; Issue: 2 Linguagem: Inglês
10.1093/em/caaa030
ISSN1741-7260
Autores Tópico(s)Historical Influence and Diplomacy
ResumoThe idea that a composer could perform musical exegesis on a poetic or biblical text took on revolutionary new meaning in the 17th century. Not only did the emerging concertato forms drive stylistic innovations in madrigals, opera and chamber music, but they also provided composers with new ways to express the emotional potency shared by sacred and secular stories. This batch of new recordings illustrates the Seicento fascination with the interrelations between sacred and profane love expressed through the oratorically charged genres of concertato dialogues, motets, oratorios and finally opera. The earliest and latest repertories in the group—respectively, a new presentation of Emilio de Cavalieri’s Rappresentatione di anima, & di corpo directed by René Jacobs, and Carnevale 1729 by mezzo-soprano Ann Hallenberg and Il pomo d’oro—represent the origins and outcomes of important stylistic innovations in the period. These innovations are brought to fruition in the core trio of recordings presented here: sacred and secular dialogues from the mid to late 17th century. These recordings are welcome additions because most of them are premiere CDs by lesser-known Italian composers Maurizio Cazzati, Ippolito Ghezzi and Agostino Steffani, and, perhaps even more pertinently, because a large number of the texts were likely written or arranged by the composers themselves.
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