Madrigaux de l'amour guerrier

Description

Monteverdi’s madrigals have most often been recorded in complete books. There are a few exceptional anthologies, but none that embraces the whole, from the pure Renaissance counterpoint of the early books to the dazzling multicolored brilliance of Hor che 'l ciel e la terra, the tenor jousts idealizing the guerra d'amore, the perspective effect drawn around Nymphe abandonnée... Rinaldo Alessandrini’s name quickly established itself to fill this gap with a selection drawn from his vast Monteverdi discography. “Goldsmiths of the word.” The phrase has regularly come up, under different pens, to distinguish his Concerto Italiano, a collective no less intimate and tightly knit than a great string quartet. Let us also salute masters of counterpoint, which they know how to soften with rubato, stretch with inflections of phrasing, and relaunch with a light accent that falls at the precise instant when it will have the greatest impact. Let us not forget that Alessandrini is first and foremost a harpsichordist: expression, between ten fingers and plucked strings, is played out in a myriad of interlocking details to imitate the voice: it is from this experience that he has been able, in turn, to refine the words and sonic images of the madrigal. Fortunately, the era made it possible.. Diapason