Marini Curiose & Moderne Inventioni
View record and artist detailsRecord and Artist Details
Composer or Director: Biagio Marini
Label: Harmonia Mundi
Magazine Review Date: 9/1997
Media Format: CD or Download
Media Runtime: 71
Catalogue Number: HMU90 7175
Tracks:
| Composition | Artist Credit |
|---|---|
| Per ogni sorte di strumento musicale diversi gener, Movement: Sinfonia sesto tuono |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Sinfonia primo tuono |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Sinfonia terzo tuono |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Balletto secondo |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Balletto terzo |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Balletto quarto allemano |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Corrente seconda |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Zarabanda terza |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Zarabanda quarta |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Passacaglio |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Per ogni sorte di strumento musicale diversi gener, Movement: Sonata basso e violino |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Arie, madrigali et correnti |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Sonate, symphonie ... e retornelli, Movement: Sonata prima a doi violini |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Sonate, symphonie ... e retornelli, Movement: Sonata terza, Variata per il violino solo |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Sonate, symphonie ... e retornelli, Movement: Sonata quarta, per il violino per sonar con due co |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
| Sonate, symphonie ... e retornelli, Movement: Pass'e mezo in 10 parti (doi violini e chitarone) |
Biagio Marini, Composer
Biagio Marini, Composer Romanesca |
Author: Nicholas Anderson
This interesting programme takes its title from Marini’s description of the music contained in his pioneering Op. 8 collection of 1629, Sonate, symphonie ... e retornelli. In it we find the composer not only exploring and extending violin technique, but also making a deliberate gesture towards the imitation of the human voice. Tremolos, graded dynamics, multiple stopping (Sonata quarta, per il violino per sonar con due corde) and a lively rhythmic and melodic invention all contribute to the brilliant, even at times passionate character of Marini’s music. His achievements do not reflect isolated trends, but aims and aspirations which were also the goal of fellow Italian composers such as Merula, Turini, Farina and many others. Four of the items here are taken from Marini’s Op. 8 while another, the Romanesca per violino solo e basso se piace, comes from his Op. 3 (1620). The remaining pieces belong to his Op. 22, published in 1655.
The strength of these performances lies not only in the stylistically fluent and idiomatic violin playing of Andrew Manze but also in the imaginatively realized and tonally resonant continuo line played by the other members of Romanesca. The music will, of course, be of primary interest to string players, but there is plenty here to attract less specialist ears, above all, perhaps, in the sheer rhythmic variety demonstrated by a wealth of contrasting dance measures. Of especial beauty are the Variations on the Romanesca melody which many a music student will recall from its inclusion in Vol. 2 of Davison and Apel’s Historical Anthology of Music (Cambridge: 1950). Manze presents the melody with expressive tenderness, taking us through several well-contrasted variations to a spirited and virtuoso conclusion. Hardly less appealing, though, are a Passacaglio in the spirit of a lament, and a spirited, generously proportionedPass’e mezo consisting of ten variations over a ground bass. All is enlivened, as I say, by a splendid continuo team which, among other instruments, sports a particularly assertive and resonant chitarrone. It makes a noteworthy contribution to several of the pieces here and is heard to exuberant advantage in the Sonata basso e violino (track 11).
In short, there is much to enjoy in this entertaining progamme, as well as features in the music of bold orginality and startling effect. I was not expecting the challenging chromatic progressions which colour the seventh section of thePass’e mezo. A stimulating release.'
The strength of these performances lies not only in the stylistically fluent and idiomatic violin playing of Andrew Manze but also in the imaginatively realized and tonally resonant continuo line played by the other members of Romanesca. The music will, of course, be of primary interest to string players, but there is plenty here to attract less specialist ears, above all, perhaps, in the sheer rhythmic variety demonstrated by a wealth of contrasting dance measures. Of especial beauty are the Variations on the Romanesca melody which many a music student will recall from its inclusion in Vol. 2 of Davison and Apel’s Historical Anthology of Music (Cambridge: 1950). Manze presents the melody with expressive tenderness, taking us through several well-contrasted variations to a spirited and virtuoso conclusion. Hardly less appealing, though, are a Passacaglio in the spirit of a lament, and a spirited, generously proportioned
In short, there is much to enjoy in this entertaining progamme, as well as features in the music of bold orginality and startling effect. I was not expecting the challenging chromatic progressions which colour the seventh section of the
Marini Curiose & Moderne Inventioni
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