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Giulio Caccini & Sigismondo D’India

Tutto’l dì piango (Giulio Caccini).
dal Capriccio detto Suegliatoio (Anon).
Tutto’l dì piango (Sigismondo D’India)
Preludio (Kapsperger)
Amarilli mia bella (Giulio Caccini)
Preludio (Kapsperger)
Cruda Amarilli (Sigismondo D’ India)
Capriccio detto Harmafrodito (Bellerofonte Castaldi)
Belle rose porporine (Giulio Caccini)
Ma che? Squallido e oscuro (Sigismondo D’India)
Toccata Prima a quattro (Giovanni Maria Trabaci)
Amico hai vinto Poco quindi lontan Non morì già (Sigismondo D’India)
Toccata dell’Ottavo Tuono (Paolo Quagliati)
Dolcissimo sospiro Sfogava con le stelle (Giulio Caccini)
Capriccio detto Chiacchierino (Bellerofonte Castaldi)
Un dì soletto Tor na il sereno zefiro (Sigismondo D’India)
Toccata Settima (Kapsberger)
Lamento d’Olimpia (Sigismondo D’India)
Consonanze Stravaganti (Giovanni Maria Trabaci)
Mentre ch’il cor (Sigismondo D’India)


Jill Feldman soprano Mara Galassi harp Karl Ernst Schroder citarrone

Olive Music/Etcetera Records KTC 1901

A delightful collection of songs by the two great composers of seventeenth century song – Giulio Caccini and Sigismondo D’India. The songs are grouped together by common text or themes and are interspersed with instrumental interludes. Of these interludes, the Toccata dell’Ottavo Tuono about halfway through the disk is particularly enjoyable. These brief interludes allow us to appreciate fully the clarity and flexibility of the chitarrone and harp and Feldman’s voice is even more glorious when it rejoins them.

At times restrained and at times full blooded and passionate, the singing of Jill Feldman is very affecting. She is extremely sensitive to text and the accompaniment follows her dramatically. The extensive liner notes detail elements of Caccini’s style including sprezzatura, the ability to articulate the text following the natural rhythms of speech as well as the ability to move quickly from one emotion to another. All the musicians on this collection achieve these elements with flourish.

The ornamentation on this collection also feels entirely organic – it is never overused and always has a dramatic effect when introduced. This is extremely senstive music making by musicians well versed in the early music style.

This disc is a wonderful introduction to seventeenth century vocal style as well as an affecting collection of touching and passionate music that would be a welcome addition to anyone’s collection.

Tess Ormond