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Musica Nova: Petrarca Madrigale

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Audio CD, October 27, 2009
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Song Title Time Price
  1. Quando fra l'altre donne 4:49$0.99  Buy MP3 
  2. Io mi rivolgo 5:34$0.99  Buy MP3 
  3. Quest'anima gentil 4:23$0.99  Buy MP3 
  4. I begli occhi 4:55$0.99  Buy MP3 
  5. Occhi piangete 4:58$0.99  Buy MP3 
  6. Io amai sempre 5:04$0.99  Buy MP3 
  7. Amor, Fortuna 4:27$0.99  Buy MP3 
  8. Che fai alma, che pensi? 3:47$0.99  Buy MP3 
  9. I vidi in terra 5:04$0.99  Buy MP3 
10. Ove ch'i posi 4:59$0.99  Buy MP3 
11. In qual parte del ciel 4:47$0.99  Buy MP3 
12. Pien d'un vago pensier 4:38$0.99  Buy MP3 

Disc 2:

Song Title Time Price
  1. Piu volte gia 4:44$0.99  Buy MP3 
  2. Giunto m'ha Amor 5:18$0.99  Buy MP3 
  3. O invidia 5:09$0.99  Buy MP3 
  4. Passa la nave 5:32$0.99  Buy MP3 
  5. Lasso, ch'i ardo 5:09$0.99  Buy MP3 
  6. Onde tolse Amor 4:35$0.99  Buy MP3 
  7. Lieti e pensose 5:01$0.99  Buy MP3 
  8. Cantai, hor piango 5:08$0.99  Buy MP3 
  9. I piansi, hor canto 5:04$0.99  Buy MP3 
10. Aspro core 5:11$0.99  Buy MP3 
11. Mentre che 'l cor 4:31$0.99  Buy MP3 
12. L'aura mia sacra 5:03$0.99  Buy MP3 
13. Quando nascesti, Amor 3:47$0.99  Buy MP3 

Product Details

  • Performer: Singer Pur
  • Composer: Adrian Willaert
  • Audio CD (October 27, 2009)
  • Number of Discs: 2
  • Label: Oehms Classics
  • ASIN: B002N5KER4
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #350,450 in Music (See Top 100 in Music)

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12 of 12 people found the following review helpful By Craig M. Zeichner on January 19, 2010
Format: Audio CD
The Flemish composer Adrian Willaert deserves wider recognition. A student of Jean Mouton, he made his name as a singer in the service of Cardinal Ippolito I d'Este and reached the height of his career as maestro di cappella at San Marco in Venice. Willaert was one of the key figures in the ascendency of 16th century Venetian music and his students included such luminaries as Ciprian de Rore and Andrea Gabrieli. Many of Willaert's sacred works were ground breakers in the development of music for double choir, so it's no surprise that what Willaert we have on recordings is mostly sacred music.

But wait, there's more! Willaert also composed chansons and madrigals and it's his collection of Musica Nova madrigals that we have on this excellent recording by Singer Pur. Written around 1540, the Musica Nova collection is comprised of 25 madrigals that are scored for four to seven voices and are set to texts by Petrarch. This is serious music and showcase Willaert's remarkably expressive style. Willaert's writing is subtle and filled with delicate shifts in color and rhythm that draw the listener in. This is dense music and its subtleties require careful attention. They also require careful attention from the singers and that's what makes these winning performances.

Singer Pur, a German group comprised of a soprano, three tenors, baritone, bass (the male singers were all choir boys in the Regensburger Domspatzen) and, for this recording, a guest countertenor sing brilliantly. I've become a big fan of the ensemble since I first heard their Factor Orbis (Ars Musici 232226) a terrific program of Renaissance sacred music. This music must be sung with precision and Singer Pur consistently delivers the goods with performances that are highly musical and technically polished.
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6 of 6 people found the following review helpful By Y.P. on November 1, 2010
Format: Audio CD
In 1607 Giulio Cesare Monteverdi, Claudio's brother, issued a memo in which he, perhaps with the collaboration of Claudio, coined the terms "Prima Pratica" and "Seconda Pratica" (first practice and second practice). Giulio said:(*)

'The "First Practice" refers to the style which is chiefly concerned with the perfection of the harmony.... Its founders were the first to write down music for more than one voice, later followed and improved by Ockeghem, Josquin des Prez, Pierre de la Rue, Jean Mouton, Crequillon, Clemens non Papa, Gombert and others of those times. It reached its ultimate perfection with Messer Adriano [Willaert] in composition.....'

Giulio (and Claudio) had one main purpose in mind when they penned this memo. Namely, to defend Claudio's madrigals (esp. Cruda Marilli) from the theorist Artusi's unflattering criticism, and at the same time to lay out the aesthetic principles of the "Second Practice." However, we can see how highly Adrian Willaert's music, esp. his madrigals, were regarded by Monteverdis.

Unfortunately, even though Claudio's own madrigals have enjoyed well-deserved resurge of popularity in the past few decades, Willaert's madrigals are still mostly locked in the academic libraries, with occasional selections being recorded in "collections". Until last year, no stand-alone recordings of Willaert's madrigals were commercially available. In 2009, at the long last, this vacuum was filled by this Singer Pur's excellent recording of the (complete) 25 madrigals from Willaert's Musica Nova.
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1 of 1 people found the following review helpful By A. Cooper on January 2, 2013
Format: MP3 Music
These 2 CDs (Amazon B002N5KER4) of Willaert's "Musica Nova", settings of sonnets by Petrarch (+ a solitary one by Panfilo Sasso) have received plaudits from U.S. and U.K. listeners. There is no doubt about their enjoyment, though they do not succeed in communicating exactly what it is that they enjoy. Petrarch's sonnets, written roughly between 1327 and 1374, elaborate on his passion for an unidentified woman, supposed by scholars to have been the wife of a French count attached (I assume) to the Avignon papacy. The sonnets have achieved multiple destinies. They express with eloquence and discretion Petrarch's lifelong unrequitement; they endow this with philosophical insights; they contribute decisively to the evolution of the Italian language; they provided the material for settings by leading composers of the Italian renaissance; they created the techniques of allusion found in later poetic compilations, such as the Castilian and other Spanish "cancioneros", devoted predominantly also to the theme of unreciprocated adoration.
There is only one known setting of a Petrarch sonnet from the poet's lifetime (Amazon B003LUH5OU). The period of greatest musical interest in Petrarch's canzionere is the 16th century, such, that questions of plagiarism in composition became prominent. To some degree Willaert's own history, admirably recounted in the accompanying notes, repeats that of Petrarch: as Maestro di Capella at St. Mark's, Venice, from 1527, he was celibate and there is no record of any offspring. This did not bar him from expressing his adoration of Polissena Pecorina, a Florentine courtesan who was a talented singer.
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