Classical The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. Fri, 03 Dec 2021 00:30:59 +0000 Joomla! 1.5 - Open Source Content Management en-gb Jacopo Peri - Il Zazzerino (1998) Jacopo Peri - Il Zazzerino (1998)

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01. Hor Che Gli Augelli [3:11]
02. Lungi Dal Vostro Lume [3:14]
03. Ballo (instrumental suite) [4:13]
04. Tra le Lagrime E I Sospiri [4:26]
05. Uccidimi, Dolore [8:27]
06. Ricecar Delcprimo Tuono del Z [3:40]
07. Su Te Parti Da Me [4:21]
08. Tu Dormi [6:48]
09. Caro Dolce Ben Mio [4:32]
10. Tra La Donne Onde S'Onora [4:06]
11. Lasso, Ch'i Ardo [4:09]
12. Bellissima Regina [7:00]
13. Occhi, Fonti Del Core [3:24]
14. - O Miei Giorni [3:44]
15. Torna, Deh, Torna [2:05]
16. Tutto 'L Di Piango [4:06]
17. Al Fonte, Al Prato [2:01]

Ellen Hargis (Soprano)
Andrew Lawrence-King (Harp)
Paul O'Dette (Guitar)


Jacopo Peri was known as Il Zazzerino or the strawberry blond guy for his handsome face, reddish blond hair and his angelic tenor. He was noted in the history of music for being the first composer of what we call today "opera" with his "Dafne" in 1598 (mostly lost) and Euridice in 1600 the result of a committee called the Camarata that met in Florence in Count Bardi castle seeking to invent a new art form in imitation of what the ancient Greeks performed. However his arch rival Giulio Caccini beat him to press with his version of Euridice 1600. The music in the present album is mostly from Peri's 1609 collection called "La Varie Musiche". This music is primarily of the "new" style of monody rather than the polyphony of previous generations especially church music. Thus the songs have a simple single line of verse that tells a story understandable to the listener. This was the "new" music supposedly in imitation of the classic Greek method of presentation of their plays (this is undoubtedly wrong). Large collections of songs in the new style were published by some dozen or so composer in a relatively short time in the early 1600s. What makes Peri's contribution unique is his avoidance of simple catchy melody in favor of shifting into distant harmonies with use here and there of dissonance. Thus his songs sound more "modern" than those of Caccini and his entourage. That Peri wrote much occasional music and for special events and perhaps many more simple songs is quite probable but he does not seem to have collected and published them. Thus the one opera (Euridice) and the present anthology of monodies plus a few fragments of other music is all that have come down to us. The present collection is a beautiful assemble of poems and verses (some by Petrarch)of the simple declamatory style with simple but effective instrumental accompaniment. The vocal part in exquisitely and clearly sung by Ellen Hargis. Some of the numbers are from other fragments or sources of Peri's music. They show off the talents of this excellent quartet. Paul O'Dette plays the chitarrone, a large double-headed lute that was the "basso" instrument of the time. Andrew Lawrence-King plays on an authentic 17 string harp and Hille Perl performs on the lirone; a type of viola da gamba. This is an excellent album of stunningly beautiful music with quite a modern almost Britten or Barber touch. --- Dr. John W. Rippon,

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]]> (bluesever) Peri Jacopo Wed, 12 Mar 2014 16:55:26 +0000
Jacopo Peri – Euridice Jacopo Peri – Euridice

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CD 01
01 - Io che d'alti sospir (La Tragedia)
02 - Ninfe ch'i bei crin d'oro (Pastore del Coro)
03 - Raddoppia e fiamm'e lumi (Ninfa del Coro)
04 - Donne, ch'ai miei lamenti (Euridice)				play
05 - In mille guise e mille (Euridice)
06 - Itene liete pur ( Coro)
07 - Antri, ch'ai miei lamenti (Orfeo)
08 - Sia pur lodato 'l Ciel (Arcetro)
09 - Nel puro ardor (Tirsi)
10 - O del gran Febo (Dafne)
11 - Per quel vago boschetto ( Dafne)
12 - Che narri ohime! (arcetro)
13 - Ahi morte invida e ria (Arcetro)
14 - Se fato invido e rio (Arcetro)
15 - Io che pensato avea (Arcetro)

CD 02
01 - Se de' boschi (Coro)
02 - Scorto da immortal guido (Venere)
03 - Funeste piagge (Orfeo)
04 - Ond'e cotanto ardire (Plutone)
05 - Ahi, che pur d'ogni legge (Orfeo)
06 - O Re, nel cui sembiante (Proserpina)
07 - Dunque dal regno oscuro (Plutone)				play
08 - Trionfi oggi pieta (Plutone)
09 - Por che gl'eterni imperi (Ombre e Deita d'Inferno)
10 - Gia del bel carro ardente (Arcetro)
11 - Come tanto dolor (Arcetro)
12 - Quand'al tempio ne andaste (Aminta)
13 - Gioite al canto mio (Orfeo)
14 - Modi or soavi or mesti (Orfeo)
15 - Biond'arcier che d'alto monte (Coro)

Elena Barcis - Soprano
Adele Bonay - Contralto
Federico Davia - Baixo
Giuseppe Donadoni - Baixo
Rodolfo Farolfi - Tenor
Adolfo Filistad - Tenor
Franco Ghitti - Tenor
Nerina Santini - Soprano
Gastone Sarti - Barítono
Karla Schlean - Soprano

Coro Pilifonico di Milano
Solisti di Milano
Giulio Bertola - Choir Master
Angelo Ephrikian – Conductor


Jacopo Peri (20 August 1561 – 12 August 1633) was an Italian composer and singer of the transitional period between the Renaissance and Baroque styles, and is often called the inventor of opera. He wrote the first work to be called an opera today, Dafne (around 1597), and also the first opera to have survived to the present day, Euridice (1600).

Euridice was first performed in Florence on October 6, 1600. The libretto by Ottavio Rinuccini is based on books X and XI of Ovid's Metamorphoses which recount the story of the legendary musician Orpheus and his wife Euridice.

Euridice was created for the marriage of King Henry IV of France and Maria de Medici. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne, was written by the same authors in 1597.) Since both the libretto and score were dedicated to the new Queen of France, Marie de' Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the King and Queen of France. While the comparison is readily made, some scholars argue that the traits of King Henry IV are different from Orfeo, especially with respect to Orfeo's most famous deed. Orfeo loved Euridice so much that he journeyed to Hell and back, quite literally, to unite once more with his beloved wife while King Henry IV wouldn't travel as far as Florence to retrieve Medici.



]]> (bluesever) Peri Jacopo Wed, 23 Nov 2011 19:40:54 +0000