Giulio CACCINI (1551-1618)
Amarilli: Le nuove musiche di Giulio Caccini detto Romano (Florence,
1601/2)
Fantazyas: Roberto Balconi (tenor), Giangiacomo Pianrdi (theorbo), Marco
Maontanelli (harpsichord)
rec. 10-19 June 2019, Chiesa di San Bartolomeo, Sondrio, Italy. DDD
Texts included; no translations
BRILLIANT CLASSICS 96254
[69:00]
Not content with bringing us performances of less common music, Brilliant
even sometimes duplicate such provision. That’s the case here: they already
had a fine recording of music from Caccini’s 1601/2 collection Le nuove musiche, performed by Riccardo Pisani (tenor) and
Ensemble Ricercare Antico, released in 2019 on 95794. I had some
reservations – no texts in the booklet and some irregularities in the
presentation of the digital version – but thought that recording well worth
commending to any lover of Monteverdi interested in a contemporary composer
who, like him, was moving in a similar direction away from the earlier
polyphonic style –
review.
That earlier release was ground-breaking. There had not been much of
Caccini’s music in the catalogue before, and some of the tracks of the
music of the other composers whose music is interspersed with the Caccini
are world firsts. The performances, recording and presentation standards,
apart from the lack of texts, bely the inexpensive price.
In one important respect, the new recording, devoted entirely to madrigals
and arie from Caccini himself, improves on the presentation in that the
texts are all included – but no translations, so your Italian, c.1600, had
better be good. There are a few overlaps between the two recordings, which
is a shame, but it gives me an opportunity to compare the two sets of
performances. Of the pieces on the new recording, the older release also
contains Amor io parto, Dovrò dunque morire, Udite amanti, Vedrò ‘l mio sol, Dolcissimo sospiro, Amarilli and Odi Euterpe.
The collection, here presented in entirety apart from some extracts from Rapimento di Cefalo, was published in 1602. It’s possible that
some of the pieces, including the title piece of this new Brilliant
collection, were actually by Giovanni Battista Guarini, Alessandro Guarini,
Francesco Cini, or Ottavio Rinuccini. These – and some other – attributions
are made in the booklet as if they were certain, without explanation.
Whoever the composers, the music is all chosen to illustrate Caccini’s
stated objectives in the preface, as explained by Roberto Balconi in his
notes. In essence, the process began with the extra importance accorded to
words in the mid sixteenth century: both the protestant reformers and the
Council of Trent decreed that liturgical music should be less elaborate
than before, and the new monodic style, while leaving room for a rich
instrumental accompaniment, moved the words to the forefront in secular
music, too.
Caccini played an important part in the development of seconda prattica, the post-polyphonic style which we now associate
mostly with Monteverdi. If Caccini had not vied with Peri in composing the
first opera, both on the theme of Orpheus and Eurydice, we might never have
had Monteverdi’s Orfeo. Peri’s was performed first, but Caccini’s
was published first. Nothing in those operas or on the new recording is
quite the equal of Monteverdi’s music, but it is expressive. If you already
know Monteverdi’s Orfeo, it’s worth tracking back just a few years
to the two Orpheus and Eurydice operas which preceded it in 1601.
Similarly, if you already know Monteverdi’s madrigals, whose own First Book
was published in 1587, with development right up to the great Eighth Book
(1638), this Caccini collection is well worth getting to know.
Balconi explains in the notes how he deviated from his usual
falsettist style to perform this music in a natural tenor voice – partly
because Caccini specifically abjures falsetto singing, and partly to
overcome an acid reflux which was making falsetto uncomfortable. I found
the result attractive, often very attractive, but turning to the earlier
Brilliant recording of Odi Euterpe finds both Riccardo Pisani in
fuller voice and his more varied instrumental accompaniment more
adventurous. More to the point, there’s much more variety of expression to
be found in the older recording.
The same contrast is to be found in the two renditions of Amarilli bella, of which we are given two performances on the
earlier album, one with vocals, the other purely instrumental. That work
may provide the title track of the new CD, with an Amaryllis lily on the
cover, but it’s to Pisani and Ensemble Ricercare Antico that I shall
continue to turn for preference to hear this piece.
Another collection of music by Caccini and his contemporaries also has a
considerable claim on your attention: Firenze 1616 includes music
by Saracini, Caccini, Malvezzi and Belli (Alpha 321). Michael Wilkinson
thought the performances informed, both musically and historically –
review,
and I especially enjoyed the Caccini Il Rapimento di Cefalo.
That’s the one work not included on the new Brilliant Classics, so it’s
complementary to it rather than a direct rival.
Another recording of the music of this period which I’ve referred to, but
not reviewed, also merits a mention here. Songs of Orpheus,
performed by Karim Sulayman (tenor), Apollo’s Fire and Jeannette Sorrell
includes music by Monteverdi and Caccini, together with Merula, Brunelli,
Castello, Cima and Landi. Caccini’s Dolcissimo sospiro is the sole
item from Le nuove musiche, so there’s minimal overlap with the
new Brilliant Classics CD.
This is one of the pieces which Balconi sings
especially well, with plenty of emotion in his interpretation.
Sulayman and Apollo’s Fire, however, not only give the piece more time to breathe,
they also put even more feeling into the interpretation, without overdoing
things. In direct comparison, this is the version to have; more to the
point, the whole collection on the Orpheus theme is well worth having
(AV2383).
So, it’s the new Brilliant Classics album for completeness, but its
predecessor provides greater satisfaction. The good news is that it’s
possible to buy both for not much more than the price of a single
full-price CD, especially if you choose to download – though the bad news
is that not all dealers offer the download of the new release, and from
those who do, it comes without the booklet. Brilliant Classics used to
offer the libretti on their website, but no longer do so: you’ll find just
notes and track-listing
here.
Naxos Music Library, who do provide booklets where possible, didn’t have
this recording when I checked.
Brian Wilson
Contents
Movetevi a pietà
(madrigal)
Queste lagrim’amare
(madrigal)
Dolcissimo sospiro
(madrigal)
Io parto, amati lumi
(aria)
Amor, io parto
(madrigal)
Ardi, cor mio
(aria)
Non più guerra, pietate!
(madrigal)
Perfidissimo volto
(madrigal)
Ard’il mio petto misero
(aria)
Vedrò ’l mio sol
(madrigal)
Fere selvaggie
(aria)
Fillide mia
(aria)
Amarilli mia bella
(madrigal)
Sfogava con le stelle
(madrigal)
Fortunato augellino
(madrigal)
Udite, udite amanti
(aria)
Occh’immortali
(aria)
Dovrò dunque morire
(madrigal)
Odi euterpe il dolce canto
(aria)
Filli, mirando il cielo
(madrigal)
Belle rose purpurine
(aria)
