Schütz: Italian Madrigals Les Arts Florissants & Paul Agnew

• Heinrich Schütz (1585 - 1672): Il Primo Libro de Madrigali, Op. 1, SWV 1-19:
• 1 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: O primavera, SWV 1 03:28
• 2 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: O dolcezze amarissime, SWV 2 02:44
• 3 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Selve beate, SWV 3 03:15
• 4 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Alma afflitta, SWV 4 03:19
• 5 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Così morir debb'io, SWV 5 03:24
• 6 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: D'orrida selce alpina, SWV 6 03:18
• 7 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Ride la primavera, SWV 7 03:11
• 8 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Fuggi, fuggi, o mio core, SWV 8 02:22
• 9 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Feritevi ferite, SWV 9 03:03
• 10 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Fiamma ch'allaccia, SWV 10 02:28
• 11 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Quella damma son io, SWV 11 02:42
• 12 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Mi saluta costei, SWV 12 03:20
• 13 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Io moro, ecco ch'io moro, SWV 13 03:47
• 14 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Sospir, che del bel petto, SWV 14 03:12
• 15 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Dunque addio, care selve, SWV 15 04:14
• 16 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Tornate, o cari baci, SWV 16 02:44
• 17 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Di marmo siete voi, SWV 17 02:58
• 18 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Giunto è pur Lidia, SWV 18 03:01
• 19 Schütz: Il Primo Libro de Madrigali, Op. 1, SWV 1-19: Vasto mar, SWV 19 04:14
• Total Runtime 01:00:44

Info for Schütz: Italian Madrigals

After two years of study with Gabrieli in Venice, Heinrich Schütz tried his hand at composing madrigals on Italian poems. This mere ‘graduation exercise’ turned out to be a masterpiece: the young German composer demonstrated his ability to identify each nuance of the text with a different musical emotion, a refinement heightened here by the interpretation of Les Arts Florissants.

Schütz's collection of Italian Madrigals (his first book of madrigals) owes its existence to the composer's two apprenticeship trips to Italy, during which he received advice from Giovanni Gabrieli and Claudio Monteverdi. Published in Venice in 1611, they constitute the basis of all his future sacred works. Based on descriptive intentions characteristic of the madrigal style, they already show "the independence of thought and the authority of a true creator", as Roger Tellart notes about them. They possess all the qualities that testify to the creative genius of their author, considered the greatest German musician before Bach.

"Schutz is maybe the fundamental composer of the German baroque. As a young man, je went to Italy to learn from the greatest; there he meets Gabrielli, and at the end of his trip, he published a book of madrigals. (…) These madrigals are fundamental for German music, but first of all they are a pleasure to hear and to sing." (Paul Agnew)

"The British tenor and conductor defends a vision of the Baroque repertoire that is both demanding and inclusive, between erudition and spontaneity." (Bachtrack)

Miriam Allan, soprano
Hannah Morrison, soprano
Sean Clayton, tenor
Mathilde Ortscheidt, viola
Jonathan Sells, bass
Les Arts Florissants
Paul Agnew, musical direction, tenor

No biography found.

This album contains no booklet.