Musica Elegentia | Matteo Cicchitti

Ricercare e Canzoni

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917291827
Catnr: CC 72918
Release date: 08 July 2022
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Label
Challenge Classics
UPC
0608917291827
Catalogue number
CC 72918
Release date
08 July 2022
Album
Artist(s)
Composer(s)
EN
DE

About the album

The absolute protagonist of this recording is the solo viola da gamba which guides us on a musical journey from 1553 (Tratado de glosas by Diego Ortiz) to 1698/99 (Ricercare per diversi toni by Angelo Michele Bertalotti and The Complete Violist by Benjamin Hely). In so doing, it puts us in touch with a repertoire that may not be universally known, but still deserves to be discovered. Above all, it must be disclosed because it gives tangible testimonies that partially rectify some deep-rooted convictions about the viola da gamba. In fact, contrary to what is often believed, after blossoming in the Renaissance, this instrument did not leave the stage ex abrupto in the mid-17th century, crushed beneath the increasing weight of the cello. Instead, it continued to enjoy its own literature, certainly less striking but not less relevant. We are referring not only to the better-documented compositions for consort, but also to the solo repertoire which frequently had didactic and artistic value - often characterized by chamber allure due to its reserved nature.
Der absolute Protagonist dieser Aufnahme ist die Solo-Gambe, die uns auf eine musikalische Reise von 1553 (Tratado de glosas von Diego Ortiz) bis 1698/99 (Ricercare per diversi toni von Angelo Michele Bertalotti und The Complete Violist von Benjamin Hely) führt. Auf diese Weise bringt sie uns mit einem Repertoire in Berührung, das zwar nicht allgemein bekannt ist, aber dennoch entdeckt werden sollte. Vor allem muss es bekannt gemacht werden, weil es greifbare Zeugnisse gibt, die einige tief verwurzelte Überzeugungen über die Viola da Gamba teilweise korrigieren. Tatsächlich hat dieses Instrument, anders als oft angenommen, nach seiner Blütezeit in der Renaissance nicht ex abrupto in der Mitte des 17. Vielmehr hat es weiterhin seine eigene Literatur, die zwar weniger auffällig, aber nicht weniger relevant ist. Wir beziehen uns nicht nur auf die besser dokumentierten Kompositionen für Consort, sondern auch auf das Solorepertoire, das häufig einen didaktischen und künstlerischen Wert hatte - oft gekennzeichnet durch kammermusikalische Anziehungskraft aufgrund seiner Zurückhaltung.

Artist(s)

Matteo Cicchitti
Double bass player, violonist, gambist and teacher, connoisseur and continuous researcher of historical performance. He combines his activity as an instrumentalist with that of artistic and musical director for the repertoire of the sixteenth, seventeenth and eighteenth centuries.

He obtained, with top marks, academic qualifications and highly perfected specializations in Conservatories and Higher Musical Institutions in the cities of Pescara, Como, Pavia, Parma, Gubbio, Rome, Frosinone, Reggio Emilia, Piacenza and Vienna under the guidance of famous masters: P. Montero, R. Sensi, L. Schumacher, G. De Frenza, W. Casali, W. Güttler, M. Di Bari, U. Nastrucci, M. Decimo, P. Veleno, N. Conci, S. Montanari, S. Genuini and F.N. Lara.

In the didactic field, he teaches at state, civic and private schools and is active as a teacher in instrumental and chamber music courses that are particularly focused on the practice of ancient instruments. He is also qualified instructor of Hatha Yoga and Yoga Nidra.

He has held conferences, masterclasses and seminars at the University “G. D’Annunzio” of Chieti, the ISSM “G. Briccialdi” in Terni, the “G. Nicolini” in Piacenza, the “A. Vivaldi” in Alessandria, the Museum of Harmonic Strings in Salle (Pe) in Abruzzo (Italy). He was invited to México to hold a baroque music masterclass in the context of the “III Festival de Música de Cámara de Jalisco” (Guadalajara, Jal. Mx).

He has performed in prestigious international theaters and halls, including: Palau de la Musica in Valencia, Philharmonic Concert Hall in Warsaw, Auditorium Baluarte in Pamplona, Casa Museo López Portillo in Guadalajara, Château Malromé (Toulouse-Lautrec’s castle) in Saint- André-du-Bois, Abbaye Saint-Pierre of Vertheuil, Palladian Basilica of Vicenza, Great Hall of Collegio Ghislieri of Pavia, Paul VI Hall of Vatican City, Vittoria Theater of Turin, Fraschini Theater of Pavia, Teatro della Pergola of Florence.

He has participated in important concerts such as: Festival “Chopin i jego Europa”, Warsaw; Stresa Festival 2019; Ravenna Festival XXXI edition; Antiqua review of ancient and baroque music, Belgioioso (Pv); Antonio Vivaldi Festival, Turin; Convers-Azioni 69th ed. Olympic Theater, Vicenza; Rome Baroque Festival IX edition, Rome; Estate Musicale Frentana, Lanciano (Ch); 32nd Cantiere Internazionale d’Arte, Montepulciano (Si); Romaeuropa Festival; Encuentro De Dos Culturas, Secretary of Culture - Gobierno de Jalisco (Tlajomulco, Jal., México); Temporada de Otoño 2012, Universidad de Guadalajara (México); Festival Internacional de Teatro, Tlaquepaque (Mèxico).

As a researcher he collaborates with the Abruzzese Institute of Musical History based in L’Aquila and MVSA - Musica d’Abruzzo in Ortona (Ch), for the exegesis, study and dissemination of the musical heritage of every era and style, in particular from Abruzzo. He has published with Sony Deutsche Harmonia Mundi, Arcana Records, Brilliant Classics, Neuma Edizioni, Tactus Records, Casa Editrice Tinari, Urania Records, ME Operae, Dynamic Records and Challenge Classics.

He has cooperated with artists of caliber including: L. Shambadal, S. Frigato, R. Invernizzi, G. Kunde, E. Mascardi, G. Antonelli, A. Rossi Lürig, E. Velardi, D. Monti, F. Cipriani, S. Montanari and F. Biondi.

He was a guest on live broadcasts on: Radio Classica, Rai Radio 3, Radio Mozart Italia, Ckrl 89,1 Continuo Québec and Radio Svizzera Italiana. And on live television: Rai 1, Rai 3 and Sky Classica.

He carries out intense concert activity with various orchestras: Alessandro Stradella Consort, Accademia d’Arcadia, Europa Galante, Musica Antiqua Latina, Quartetto Vanvitelli, Orchestra Barocca delle Marche, ArParla Plus, I Solisti Ambrosiani, L’Archicembalo and Musica Elegentia of which he himself is founder and director.

Press

Play album
01.
Tratado del glosas (1553): Recercada Prima (libro secondo)
02:30
02.
Tratado del glosas (1553): Recercada Segunda (libro secondo)
02:14
03.
Tratado del glosas (1553): Recercada Tercera (libro secondo)
02:04
04.
Tratado del glosas (1553): Recercada Quarta (libro secondo)
01:57
05.
The First Part of Ayres, French, Pollish and others together … with Pavines, Galliards, and Almaines (1605): A galiard
01:10
06.
The First Part of Ayres, French, Pollish and others together … with Pavines, Galliards, and Almaines (1605): Love’s Almayne
02:36
07.
The First Part of Ayres, French, Pollish and others together … with Pavines, Galliards, and Almaines (1605): A toy
01:19
08.
The First Part of Ayres, French, Pollish and others together … with Pavines, Galliards, and Almaines (1605): A merry meeting
01:19
09.
The First Part of Ayres, French, Pollish and others together … with Pavines, Galliards, and Almaines (1605): The spirit of the almayne
02:03
10.
The First Part of Ayres, French, Pollish and others together … with Pavines, Galliards, and Almaines (1605): My mistresse almaine
01:49
11.
The complete violist (1699): Psalm 100 & Psalm 92
01:30
12.
The complete violist (1699): Minuet
01:10
13.
The complete violist (1699): Ayre slowtime
01:31
14.
The complete violist (1699): Bourrée
01:02
15.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Primo per contralto
00:49
16.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Secondo per contralto
01:12
17.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Terzo per contralto
01:30
18.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Quarto per contralto
01:58
19.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Quinto per contralto
01:31
20.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Sesto per contralto
01:09
21.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Settimo per contralto
00:53
22.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Ottavo per contralto
01:24
23.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Nono per contralto
01:21
24.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Decimo per contralto
01:14
25.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Primo per soprano
01:41
26.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Terzo per soprano
01:43
27.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Quarto per soprano
01:28
28.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Sesto per soprano
01:48
29.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Settimo per soprano
01:18
30.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Ottavo per soprano
01:31
31.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Nono per soprano
01:30
32.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Decimo per soprano
01:18
33.
Regole facilissime per apprendere con facilità e prestezza li canti fermo e figurato (1698): Ricercare Undecimo per soprano
01:27
show all tracks

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