Credits:

Antonii Baryshevskyi

Description:

In the early 17th century, when Italian music was coming of age, from the Renaissance with its predominance of polyphonic music to the Baroque with its focus on solo voices, Frescobaldi was active as an organist for the papal court and created a series of masterpieces on the keyboard that straddled the boundaries of the times. Frescobaldi was a pope's organist at the beginning of the 17th century, a time when Italian music was receiving a new lease of life in the Baroque era, centered around the soloist. His canzones for instrumental ensemble are known in two editions, one compiled by his pupil Grassi and another published in Venice, and are remarkable for the Baroque language that was blossoming on top of the Renaissance accumulation at the time when the violin genus was beginning to find its own musical language after the era of viola da gamba dominance. The contents are remarkable. Many of the pieces have unique orchestration, such as two bass parts and bass solo, and are interesting as if they were instrumental expressions of a world similar to Monteverdi's late Madrigale, which was released in the same period. The group uses instruments that have been reproduced based on new research for each recording project, and the organic sound of unique 17th century bass string instruments, such as the tenor violin, which is smaller than the cello, and the bass violin, which is slightly larger than the cello, captivate the listener.The naturalistic engineering by the genius engineer Hugues Deschaux captures the atmosphere of "place" in this captivating piece. Naxos Japan