Everybodys Records

Dramatic secular cantatas from the early Italian Baroque, revived for the first time in the modern age by an acclaimed and enterprising early-music ensemble. 'This is a disc well worth obtaining,' reported Fanfare of the previous Colista album by Ensemble Giardino Di Delizie on Brilliant Classics (96033). Recorded for the first time complete, the trio sinfonias gathered there are 'a collection of fine works that seem to foreshadow Corelli almost half a century later. Of course, much of the ability to make these works come alive is due to the Giardino de Delizie under that capable direction of violinist Ewa Augustynowicz... The sound is extremely good and live.' The ambitions of the ensemble now extend further still, into the entirely unknown vocal output of this important figure from 17th-century Rome. Born in 1629 to a scribe for the papal Curia, Lelio Costa demonstrated musical and theatrical talent in childhood and soon won the admiration of his contemporaries as both a performer and composer; one of them called him 'Lelio Amato'. He rose effortlessly through the ranks of the Papal court, becoming in time the equivalent of the Keeper of Pictures. And theatrical talent in childhood and soon won the admiration of his contemporaries as both a performer and composer; one of them called him 'Lelio Amato'. He rose effortlessly through the ranks of the Papal court, becoming in time the equivalent of the Keeper of Pictures. Colista's sacred music has entirely disappeared, but ten secular cantatas survive, and six are presented here. They revolve around the conventional theme (for such works) of lost and frustrated love in pastoral and marine contexts: doleful shepherds and fishermen, inconstant shepherdesses and poor Europa, faced with appearance of Jupiter as a bull, in Europarapita. Colista proves himself a master of dramatic and picturesque imagery to illustrate his texts, as well as underscoring them with inventive counterpoint, much varied in texture between light and dense according to the context. The result is a significant addition to any library of Baroque vocal works, performed with a full understanding of the required style.
Dramatic secular cantatas from the early Italian Baroque, revived for the first time in the modern age by an acclaimed and enterprising early-music ensemble. 'This is a disc well worth obtaining,' reported Fanfare of the previous Colista album by Ensemble Giardino Di Delizie on Brilliant Classics (96033). Recorded for the first time complete, the trio sinfonias gathered there are 'a collection of fine works that seem to foreshadow Corelli almost half a century later. Of course, much of the ability to make these works come alive is due to the Giardino de Delizie under that capable direction of violinist Ewa Augustynowicz... The sound is extremely good and live.' The ambitions of the ensemble now extend further still, into the entirely unknown vocal output of this important figure from 17th-century Rome. Born in 1629 to a scribe for the papal Curia, Lelio Costa demonstrated musical and theatrical talent in childhood and soon won the admiration of his contemporaries as both a performer and composer; one of them called him 'Lelio Amato'. He rose effortlessly through the ranks of the Papal court, becoming in time the equivalent of the Keeper of Pictures. And theatrical talent in childhood and soon won the admiration of his contemporaries as both a performer and composer; one of them called him 'Lelio Amato'. He rose effortlessly through the ranks of the Papal court, becoming in time the equivalent of the Keeper of Pictures. Colista's sacred music has entirely disappeared, but ten secular cantatas survive, and six are presented here. They revolve around the conventional theme (for such works) of lost and frustrated love in pastoral and marine contexts: doleful shepherds and fishermen, inconstant shepherdesses and poor Europa, faced with appearance of Jupiter as a bull, in Europarapita. Colista proves himself a master of dramatic and picturesque imagery to illustrate his texts, as well as underscoring them with inventive counterpoint, much varied in texture between light and dense according to the context. The result is a significant addition to any library of Baroque vocal works, performed with a full understanding of the required style.
5028421972770
Cantatas & Arias
Artist: Colista / Augustynowicz
Format: CD
New: Available $13.99
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Dramatic secular cantatas from the early Italian Baroque, revived for the first time in the modern age by an acclaimed and enterprising early-music ensemble. 'This is a disc well worth obtaining,' reported Fanfare of the previous Colista album by Ensemble Giardino Di Delizie on Brilliant Classics (96033). Recorded for the first time complete, the trio sinfonias gathered there are 'a collection of fine works that seem to foreshadow Corelli almost half a century later. Of course, much of the ability to make these works come alive is due to the Giardino de Delizie under that capable direction of violinist Ewa Augustynowicz... The sound is extremely good and live.' The ambitions of the ensemble now extend further still, into the entirely unknown vocal output of this important figure from 17th-century Rome. Born in 1629 to a scribe for the papal Curia, Lelio Costa demonstrated musical and theatrical talent in childhood and soon won the admiration of his contemporaries as both a performer and composer; one of them called him 'Lelio Amato'. He rose effortlessly through the ranks of the Papal court, becoming in time the equivalent of the Keeper of Pictures. And theatrical talent in childhood and soon won the admiration of his contemporaries as both a performer and composer; one of them called him 'Lelio Amato'. He rose effortlessly through the ranks of the Papal court, becoming in time the equivalent of the Keeper of Pictures. Colista's sacred music has entirely disappeared, but ten secular cantatas survive, and six are presented here. They revolve around the conventional theme (for such works) of lost and frustrated love in pastoral and marine contexts: doleful shepherds and fishermen, inconstant shepherdesses and poor Europa, faced with appearance of Jupiter as a bull, in Europarapita. Colista proves himself a master of dramatic and picturesque imagery to illustrate his texts, as well as underscoring them with inventive counterpoint, much varied in texture between light and dense according to the context. The result is a significant addition to any library of Baroque vocal works, performed with a full understanding of the required style.
        
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