Libro secondo d'arie (1623)
KAPSBERGER, Giovanni Girolamo
‘this is as good a recording of early music as I have ever heard. The small instrumental group [is] widely, but naturally, spaced across the stereo picture, superbly balanced and wonderfully clear. The vocalists are placed centre-stage. The bass notes ring out with true ambience, and the theorbo and archlute are recorded intimately so that every note is clear’
Garry Higginson, MusicWeb International
Giovanni Girolamo Kapsberger is today best known for his extraordinary compositions for solo lute and theorbo. The usually adventurous harmonic language, coupled with rhythmic inventions of a most creative sort, constitutes the basis of some of the most unique music of the period. However, Kapsberger’s musical output included much more than writing for the lute family of instruments - madrigals, solo arias, motets, strophic villanelles, instrumental dances, sinfonie, Masses, and stage works also feature in the composer’s rich musical output. Il Furioso, under the leadership of Victor Coelho, presents us with nearly all of Kapsberger’s Libro Secondo (1626), a publication of arias set to spiritual texts, and several theorbo solos found in various contemporary collections. The CD features some first-class singing, especially from the group’s tenor, Gian Paolo Faggoto. Tu dormi displays a notable sensitivity to the sentiment of the text and a remarkable ease of ornamentation. Perche pieta, a soprano-bass duet sung by Janet Youngdahl and Paul Grindlay, is likewise worth noting for the exceptional virtuosity displayed by the two singers. The continuo section of the group, comprised of theorbo, archlute, and harpsichord, provide a very nice support even though a greater variety of sound colour would be welcome. The solo theorbo pieces demonstrate considerable musical maturity and skills on the instrument by both Victor Coelho and David Dolata; Kapsberger’s Corrente and an anonymous Toccata are particularly charming. Overall, this polished and pleasurable recording is a welcome reminder of the musical versatility of one of the 17th century’s most original composers.
Zak Ozmo, Goldberg Magazine
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