Ensemble Il Narvalo - Dal Barba: Requiem & Other Sacred Music - COMPACT DISCS [CD]

Da Viadana Solo Tenore Motets; Canale Keyboard Canzonas Album Tracks 1. Concerto À Soprano Over Cornetto (Fratres Ego Enim) 2. Veni Domine Et Noli Tardare 3. Canzon la Ugona 4. O Altitudo 5. Canzon la Averolda 6. Congratulamini 7. Canzon la Bevilacqua 8. Hunc Preclarem 9. Veni Sancte Spiritus 10. Canzon la Fenarola 11. Dum Complerentur 12. Ego Autem 13. Concerto À Soprano Over Cornetto (Accipite Et Manducate) 14. Memento Salutis 15. Canzon la Nuvolina 16. Salve Corpus Iesu Christi 17. Canzon la Canobbia 18. Quam Dilecta Tabernacula

Works attributable with certainty to Nicolò Corradini (1585-1646) - likely from Cremona as opposed to Bergamo or Rome as erroneously suggested in the past - are limited to a few printed editions, among them the Primo libro de Canzoni francesi a 4 e alcune suonate (a copy of which has come down to us, printed by Gardano in Venice in 1624). It includes ten French canzonas and four sonatas, works most likely conceived to be performed by several instrumentalists, including one or more possible continuists (because of the speed of some passages and the separation between different parts of often more than an octave). The canzonas are divided into several sections with structures ranging from simple A-B-A to more complex schemes (A-B-C-A-B-D in the Eighth Canzon); these short musical frameworks offer within them a great variety of themes, imitation between parts and repetitions of sections, ensuring cohesiveness of form. The sonatas on the other hand - with the exception of the Suonata a tre (a simple A-B-C-D-A) - are presented in a more madrigalistic vein. The narrative pathway on which they are based passes through multiple melodic cues so completely different from one another as to suggest a rhetorical structure arching from an exordium to a final peroration. This leads to a proliferation of sections - A-B-C-D-E-F-G-H-I in the case of the Suonata a due cornetti in risposta. (The specification for two cornets Inchin call and responseInch contained in the title of this sonata corresponds to the numerous segments of this piece in which the same melody is first proposed by one performer and then repeated by the other.) Album Tracks 1. Canzon No. 1, InchLa PallavicinaInch [04 15] 2. Canzon No. 2, InchLa SartiranaInch [04 21] 3. Canzon No. 3, InchL'argentaInch [05 00] 4. Canzon No. 4, InchLa SforzaInch [04 09] 5. Canzon No. 5, InchLa ViscontaInch [03 16] 6. Can

Juan Frances de Iribarren Echevarría (1699-1767) received his musical education at the Royal Chapel in Madrid. He was taught there by the composer Jose de Torres who, in 1717, recommended that Iribarren be appointed organist at Salamanca Cathedral. Sixteen years later Iribarren moved on to become maestro de capilla at the Cathedral of Malaga, the city in which he spent the rest of his life. On his death there he left a huge library of his own music - with the proviso that it not be copied and only performed at services in the cathedral. Such constraints have until recently prevented this marvelously vivid music from receiving the attention it deserves. The present album presents a tasting menu of Iribarren's work in various genres and from different periods of his career, Italian vocal styles over native, more vernacular idioms. There are four pieces written to mark the Immaculate Conception, composed over a 22-year period from 1743 to 1764, all unique in form, all devotional but quite different in material and expression. Irribarren's technique encompassed transparent polyphony as well as solo-vocal motets of a homely, often bucolic character. Several pieces here were composed to accompany the exposition of the Blessed Sacrament, and these are more intimate in tone. The selection focuses on pieces written for one or two solo voices with a small accompanying ensemble, but during his time in charge of the music at Malaga Iribarren assembled a team of 30 singers and instrumentalists including a plainchant choir, cantors, wind and string players, organists and boy choristers. The composer, organist, harpsichordist and conductor Federico del Sordo has a diverse discography on Brilliant Classics encompassing the full range of his musical talents and reviving several little-known Baroque composers such as Fasolo (95512), Bonelli (95816) and Salvatore (95146). Album Tracks