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BANCHIERI: Il Zabaione Musicale (Diego Fasolis/ Giuseppe Clericetti/ Radio Svizzera Choir/ Lugano/ Sonatori de la Gioiosa Marca) (Naxos: 8.553785)


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Adriano Banchieri(1568-1634)



II Zabaione musicale



Festino nella seradel giovedi grasso avanti cena, op. 18



 



Adriano Banchieri wasa man of considerable versatility, a composer, dramatist, organist andtheorist. Born in Bologna in 1568, he studied the organ and composition as apupil of Giose!lo Guami, who had himself studied with Adrian Willaert and AnnibalePadovano as a member of the musical establishment at St Mark's in Venice, wherehe was later second organist under Giovanni Gabrieli, before returning to hisnative Lucca as organist at the cathedral there. Banchieri entered the Olivetanmonastic order in 1587, taking the name in religion of Adriano and in 1590making his solemn profession. Thereafter he was employed at various houses ofhis order, serving as organist in Lucca in 1592, in Siena the following year and from1596 at S Michele in Bosco near Bologna, where he had moved in 1594. His term of service therewas interrupted from 1600 to 1604, when he was organist at S Maria in Regola atImola, followed by employment at the monastery of S Pietro at Gubbio andsubsequently at churches in Venice and in Verona. In 1607 he dedicated the new organ at the Siena mother-house of hisorder, Monte Oliveto Maggiore. In 1609 he returned to S Michele in Bosco.

There, in 1615, he founded the Accademia dei Floridi, assuming the name of II

dissonante, following the usual practice of these enthusiastic groups ofscholars, musicians and amateurs, the members of which took more or lessappropriate pseudonyms. Monteverdi visited the Accademia in 1620 on theoccasion of his eldest son Francesco's entry into the order of DiscalcedCarmelites, where, presumably, he hoped to continue his activities as amusician. The Accademia held a meeting on 13th June, the feast of St Anthony ofPadua, in Monteverdi'shonour, with the additional presence of a number of leading musicians from Bologna, including Girolamo Giacobbi,maestro di cappella at the basilica of S Petronio, an importantmusical centre, a close friend of Banchieri. The Accademia changed its name tothe Accademia dei Filomusi in 1622, when it began to meet in the house of GirolamoGiacobbi, a change followed by the emergence in 1633 of the Accademia dei Filaschi,the direct progenitor of the influential Accademia Filarmonica of Bologna, established in1666. Banchieri was given the honorary title of Abbot in 1618, moving to S Bernardo in Bologna only in 1634, theyear of his death from apoplexy.



 



Banchieri occupied aposition of importance among his contemporaries as an organist. As a theorist,he involved himself in the musical controversies of the time, in particular inattempts to reconcile the traditional modal practice of composers with the newtendency towards major and minor keys. Compositions of his were printed with anorgan bass and with dynamic directions of piano or forte, apractice unusual at the time. He wrote a quantity of church music, but alsoadded significantly to secular repertoire in a series of three-voice canzonettas,often reflecting dramatic situations or characters drawn from the traditional commediadell'arte or from a particular place. Influenced by Orazio Vecchi's L 'Amfipamasso,of which he made his own paraphrase, he carried the art of comedy in musica step further, making use of his own skill as a writer and an expert on localdialects in the North of Italy. His writings in other fields were often issuedunder the pseudonym of Camillo Scaliggeri dalla Fratta, or, in the case of hispopular La nobilita dell'asino (The Nobility of the Ass) the improbable Attabalippadal Peru.



 



II zabaione musicale,atitle that defies plausible translation, described additionally as Inventioneboscareccia (a sylvan invention), was published in Milan in 1604. A modern scholar hasdescribed the work as a synthesis of madrigal styles, presenting, in its threeacts, the contemporary development of the form. The first act, it is suggested,presents the bucolic, the second the Renaissance refinement of the form in the Intermedi,with their element of spectacle, and the third the final dramaticdevelopment. The entertainment offers a mixture of various seasonings, asBanchieri explains in his own preface, and consists of a series of five-partmadrigals, a form of polyphonic drama or rather, here, a series of short dramaticscenes.



 



The work starts withan Introduction, in which vocal parts are allocated, leading to thefinal invitation to enjoyment of the dish, the upper parts moving over a slowlyrising bass line. The Prologue is offered by L 'Humor Spensierato (CarefreeHumour), an exhortation to the shepherd company, in this conventional Arcadiansetting, to banish melancholy. There follows the Intermedio di felici pastori(Intermedio of Happy Shepherds), described as a due cori (for twochoruses) and using corresponding vocal grouping between the five parts inpraise of the joys of love. Progne e Filomela (Procne and Philomela)offers a moment of melancholy, one of the four traditional humours and animportant affetto in developing musical theory of the time, according towhich a piece of music might rightly express or, in Platonic or Aristotelianterms, awaken in the listener a single state of mind, properly evoked. The mythof Procne and Philomela concerns the crime of the husband of Procne, King Tereusof Thrace, who raped Procne'ssister, Philomela, and cut out her tongue. The sisters took their revenge bykilling Procne's son by Tereus and serving him up as dinner for his father. Thesisters were transformed into birds, one a swallow, the other a nightingale,while Tereus became a hoopoe. The succeeding dance of five shepherdesses is tothe sound of the Spagnoletto, a dance with a fixed and repeated harmonicpattern. For the repetition of the dance a cornamusa is called for, aninstrument generally identified with the shepherd bagpipe. Banchieri now adds asetting of a pastoral poem by the well known poet and humanist Giambattista Guarini.




 



The second act of IIzabaione starts with the Intermedio di pignattari (Intermedio ofCooking-Pot Sellers), with a text taken from a collection of five-partmadrigals published by Manilio Caputi in Naples in 1593. There follows ashepherd lament for a bird killed by a cat, its text attributed to an otherwiseunknown Agostino da Padova. In Tirsi a Clori (Thyrsis to Chloris),with its imitative entries, the shepherd addresses his beloved, leading to adialogue between the shepherd Amyntas and Daphne, and Cupid's verdict. Thelight-hearted sport of the little sparrow, in which the bird is graduallyeaten, ends the act, after which a more formal madrigal is interposed, with atext by Alberto Parma.



 



A setting of afurther text by Banchieri himself opens the third act, Ergasto appassionato (PassionateErgastus), a lover's complaint. Two shepherd lovers, Silvio and Carino sing oftheir beloved Amaryllis and Phyllis, while in the following Gara amorosa dipas tori (Love Contest of Shepherds), two madrigals are interwoven, thefirst entrusted to the top three voices and the second to tenor and bass. Thereis a dance of nymphs and shepherds, before the five voices impersonate L 'HumoreSpensierato for the epilogue or Licenza, and the final
Facts
Item number 8553785
Barcode 730099478526
Release date 01/01/2000
Category Choral Music | Classical Music
Label Naxos Classics | Naxos Records
Media type CD
Number of units 1
Performers
Composers Adriano Banchieri
Conductors Diego Fasolis
Orchestras Radio Svizzera Choir, Lugano
Sonatori de la Gioiosa Marca
Producers Giuseppe Clericetti
Disc: 1
Il Zabaione musicale
1 I. Introduzione
2 Atto I: II. Prologo: l'Humor spensierato
3 Atto I: III. Intermedio di felici pastori, a due c
4 Atto I: IV. Progne e Filomena
5 Atto I: V. Danza di pastorelle, in aria del spagno
6 Atto I: VI. Madrigale: Soavissimo ardore
7 Atto II: VII. Intermedio di pignattari
8 Atto II: VIII. Un pastorello con un augellino ucci
9 Atto II: IX. Tirsi a Clori
10 Atto II: X. Dialogo: Aminta, Dafne e giudizio d'Am
11 Atto II: XI. Gioco della passerina
12 Atto II: XII. Madrigale: Baci, sospir e voci
13 Atto III: XIII. Ergasto appasionato
14 Atto III: XIV. Preparamento pastorale
15 Atto III: XV. Gara amorosa di pastori
16 Atto III: XVI. Danza di ninfe e pastori
17 Atto III: XVII. Licenza: l'Humore spensierato
Festino nella sera del giovedì grasso avanti cena
18 I. Il diletto moderno per introduzione
19 II. Giustiniana di vicchietti chiozzotti
20 III. Mascherata di villanelle
21 IV. Seguita la detta mascherata
22 V. Madrigale a un dolce usiglio
23 VI. Mascherata d'amanti
24 VII. Gli amanti morescano
25 VIII. Gli amanti cantano un madrigale
26 IX. Gli amanti cantano una canzonetta
27 X. La zia Bernardina racconta una novella
28 XI. Capricciata a tre voci
29 XII. Contrappunto bestiale alla mente
30 XIII. I cervellini cantano un madrigale
31 XIV. Intermedio di venditori di fusi
32 XV. Li fusari cantano un madrigale
33 XVI. Gioco del conte
34 XVIIa. Li festinanti (solo di scacciapensieri: Mar
35 XVIIb
36 XVIII. Vinata di brindesi e ragioni
37 XIX. Sproposito di goffi (pero di gusto)
38 XX. Il diletto moderno licenza e di nuovo invita
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