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The Netherlands Bach Society|Love & Lament

Love & Lament

The Netherlands Bach Society, Jos van Veldhoven and Cappella Figuralis

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From the beginning of the 17th century, composers in Italy and far beyond its borders discovered the dramatic power of small ensembles, for the most part abandoning the traditional a cappella polyphonic style. The richness of verbal language pointed the way to new modes of expression. Monody played a central role in this development: in essence, it consisted of a single singing voice accompanied by the new style of ‘basso continuo’. The text was supported and followed word by word, making use of the ‘affetti’, a new freedom in the treatment of dissonance as well as sharply contrasting melodic and rhythmic treatments. Of course, any number of new musical forms and genres also developed, one of which was the dialogue - a genre which has repeatedly been given attention by Cappella Figuralis in recent years - and its more expansive version, the oratorio. A dialogue can best be described as a sung conversation, in which each of the persons taking part is represented by a single voice, and a group by a vocal ensemble. In addition, the ‘cast’ sometimes includes a narrator, whose part can be either single-voiced or many-voiced. (…)
(Pieter Dirksen)

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Love & Lament

The Netherlands Bach Society

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1
Madrigals, Book 8, SV 146–167 - Canti Amorosi: No. 18. Lamento della ninfa, SV 163
The Netherlands Bach Society
00:06:06

Copyright Control, MusicPublisher - Claudio Monteverdi, Composer - Jos van Veldhoven, Conductor, MainArtist - The Netherlands Bach Society, Ensemble, MainArtist - Ottavio Rinuccini, Lyricist - Cappella Figuralis, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

2
Toccata in F Major, F 14.13
Siebe Henstra
00:03:55

Copyright Control, MusicPublisher - Girolamo Frescobaldi, Composer - Siebe Henstra, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

3
Sacrae concertationes: No. 18. Lamento di David (Dialogo), "Cum reverteretur David a caede Amalec"
The Netherlands Bach Society
00:10:54

Anonymous, Lyricist - Copyright Control, MusicPublisher - Jos van Veldhoven, Conductor, MainArtist - The Netherlands Bach Society, Ensemble, MainArtist - Domenico Mazzocchi, Composer - Cappella Figuralis, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

4
Intavolatura di chitarone, libro 4: No. 7. Toccata VII
Mike Fentross
00:05:41

Copyright Control, MusicPublisher - Giovanni Girolamo Kapsperger, Composer - Mike Fentross, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

5
Sacri modulatus, Op. 3 - Lamentatio Virginis in depositione Filii de Cruce: "Dum Angeli pacis amare flebant"
The Netherlands Bach Society
00:17:14

Anonymous, Lyricist - Copyright Control, MusicPublisher - Jos van Veldhoven, Conductor, MainArtist - The Netherlands Bach Society, Ensemble, MainArtist - Alessandro Della Ciaia, Composer - Cappella Figuralis, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

6
Toccate e correnti d'intavolatura d'organo e cembalo: Toccata VII
Siebe Henstra
00:05:14

Copyright Control, MusicPublisher - Michelangelo Rossi, Composer - Siebe Henstra, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

7
Jephte: "Cum vocasset in proelium filios" (Historicus, Jephte, Filia)
The Netherlands Bach Society
00:24:09

Anonymous, Lyricist - Copyright Control, MusicPublisher - Giacomo Carissimi, Composer - Jos van Veldhoven, Conductor, MainArtist - The Netherlands Bach Society, Ensemble, MainArtist - Cappella Figuralis, Ensemble, MainArtist

2006 Channel Classics Records 2006 Channel Classics Records

Album review

From the beginning of the 17th century, composers in Italy and far beyond its borders discovered the dramatic power of small ensembles, for the most part abandoning the traditional a cappella polyphonic style. The richness of verbal language pointed the way to new modes of expression. Monody played a central role in this development: in essence, it consisted of a single singing voice accompanied by the new style of ‘basso continuo’. The text was supported and followed word by word, making use of the ‘affetti’, a new freedom in the treatment of dissonance as well as sharply contrasting melodic and rhythmic treatments. Of course, any number of new musical forms and genres also developed, one of which was the dialogue - a genre which has repeatedly been given attention by Cappella Figuralis in recent years - and its more expansive version, the oratorio. A dialogue can best be described as a sung conversation, in which each of the persons taking part is represented by a single voice, and a group by a vocal ensemble. In addition, the ‘cast’ sometimes includes a narrator, whose part can be either single-voiced or many-voiced. (…)
(Pieter Dirksen)

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