La Compagnia del Madrigale CIPRIANO DE RORE Vieni, dolce Imeneo

With Vieni, dolce Imeneo, La Compagnia del Madrigale make another important halt on their compelling journey across the territory of Italian secular song with a disc devoted to one of the most significant, yet these days somewhat bypassed, composers: Cipriano de Rore. De Rore was a Fleming who enjoyed great success notably in the Italian courts of Ferrara and Parma – but with a prestige which extended up and across Europe. He composed in many genres, but it is the secular madrigal – recorded here – where his skill was most valued, for example in creating extended and expressive melodic lines coupled with innovatory pre-echoes of the seconda pratica so triumphantly expressed – albeit amidst great criticism – by Claudio Monteverdi.

Recordings – all also on Glossa – of madrigals by Marenzio, Gesualdo and Monteverdi have already demonstrated musical pleasures such as an uncommon vocal blend and delicacy, and a meticulous dynamic control exhibited by the richly experienced members of La Compagnia del Madrigale, and those delights are to be experienced with these 19 madrigals by Cipriano de Rore, composed late in his career.

With texts by Petrarch, Ariosto and assorted court poets for these madrigals, essay-writer Marco Bizzarini highlights one of the principal characteristic features of de Rore’s mastery when he points to the disc’s title track, Vieni, dolce Imeneo: the ideal union between poetry and music.

La Pifarescha DI GUERRA E DI PACE

Given the prevalence of war in the Europe of the Renaissance it is no real surprise that warlike themes and echoes of battles should find their ways into secular and civic music compositions – or even into religious ones (such as the many L’Homme armé and La Bataille masses of the time). With Di guerra e di pace, La Pifarescha captures the contrast between the roar and rhythms of battle and the celebrations of courtly and popular festivities as would have been performed by an alta cappella ensemble from the Middle Ages through to the dawn of the Baroque: shawms, slide trumpets and sackbuts, plus other wind instruments buttressed by percussion instruments.

The music of well-known composers from the period – Josquin, Isaac, Willaert, Phalèse, Susato and Senfl – is conjured up in virtuosic performances from this Italian ensemble, La Pifarescha, making its first appearance on Glossa (even if its members are regular instrumental contributors to performances and recordings by the likes of Cantica Symphonia or La Venexiana).

This modern journey, creating a Renaissance “soundtrack”, embraces not just war and peace but also the contrast of European and Arabic and Asiatic influences from the times of the Crusades through to civic bands playing for the residents in Renaissance Venice or Bologna. In creating this enjoyable and improvisation-filled entertainment the members of La Pifarescha wear their scholarly knowledge lightly as they play their way from the popular to the erudite and back.