Girolamo Frescobaldi

Renaissance and Baroque Organ Music

Canta la Maddalena

The theme of the deploration represents one of the keystones of the Italian baroque revolution in the first half of the 17th century. These lamenti constituted the ideal framework for putting into practice the latest discoveries in expressive solo singing. Freed from the subtleties of counterpoint, it was now able to communicate the emotion expressed in the words directly to the listener. In this respect sacred music was not far behind and it is easy to understand why the plaints of Mary Magdalene at the foot of the Cross were so abundant, especially in Rome where religious music had always occupied a more important position than elsewhere. The solo motets of Rossi, Agneletti, Mazzocchi and Frescobaldi bear dazzling witness to this specifically Roman musical activity.

Italian Vocal Music

Recorded: Forde Abbey, Somerset 1985

Quel lascivissimo cornetto

Virtuoso Solo Music for Cornetto

Monteverdi - Scherzi musicali

Per un bacio

Cantatas & madrigals in 17th century Italy

Music For A While - Baroque Melodies

In Giulio Caccini's Garden

Giulio Caccini spent much of his life at the Medici court in Florence. He was famed above all as a virtuoso singer, accompanying himself on the chitarrone. This type of singing - which was to give rise to opera - often covers two octaves or more, the vocal part leaping acrobatically from one register to the other, thus imitating the 'alla bastarda' playing of the bass instruments.