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ClassicsOnline Home » SCHUTZ, H.: Primo libro de madrigali (Il) (Italienische Madrigale, Complete Recording, Vol. 2) (Dresdner Chamber Choir, Rademann)
Schütz —father of modern music—a young man in Italy
With the benefit of mentor sponsorship in 1609, a young Heinrich Schütz absorbed the culture and influence of Venice to transform himself into Henrico Sagittario Allemanno, to influence the musical world for centuries. Following this fellowship adventure, Schütz went on to compose music a century before Bach to initiate what is considered modern music.
The accompanying booklet for Italian Madrigals carefully explains this musical journey, noting the “cultural transfer” from Italy to Germany for which Schütz became the pioneer.
Subjects of these songs range from nature and love to melancholy and death. The voices of the Dresdner Kammerchor caress each note and enunciation of the five-voice parts, appealing to the singer and listener alike. This group, under the guidance of Hans-Christoph Rademann, has earned an impeccable international reputation for this impressive music. Pitch, entrances, expression, and phrasing are flawless. The final madrigal in this collection shows important departures from the preceding pieces, as explained in the booklet.
This CD is the second volume in a set of three, The Complete Works of Schütz. While listening to the madrigals in succession, one may find “same-i-ness” rather than fine distinctions. For the words, non-Italian speakers lose something in the translation; English text is relegated to the end of the booklet.
The imaginary scene of a young musician being selected for study in the cultural capital of the world instantly appeals to those who seek opportunity for promising students. The occasion of Schütz studying and composing in Venice opened the musical world to development and exploration still expanding to this day. Such a success story comes too seldom; it encourages each of us to expand learning opportunities with the young and promising in our midst.more....
Although he is best known for his many sacred compositions, these Italian madrigals are among Schutz's earliest vocal works. Those who only know those later pieces may be surprised to hear a hint of Gesualdo here, but the composer learned the style during his studies in Venice. The entire set was never meant to be heard in one go--like any sweet stuff, it has to be spaced out--so sample, if you can, the eighth in the set, "Fuggi, fuggi o mio core," with its rushing figures and alternating meters, or Number 15, "Dunque addio, care selve," which comes, after four minutes of harmonic twisting, to inevitable and perfect rest.
While I'm not entirely sold on performing this music with so many voices on a part (not that 18 singers is a huge choir), there's little fault to be found with the singing itself. Texts are provided, but the English is printed on different pages than the Italian being sung.more....
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SCHUTZ, H.: Primo libro de madrigali (Il) (Italien...