Various Composers - Trillo gagliardissimo (I Cavalieri del Cornetto)

Information

1. Carlo Gesualdo - Canzon francese del Principe (Manoscritto GB-Lbl add.MS.30491 detto di Luigi Rossi, 1617)
2. Traditional - Aria di Firenze
3. Agostino Agazzari - Sacrae cantiones, Libro quarto, Venezia 1606: Beatus Vir
4. Cipriano de Rore - Primo libro di madrigali à 4 voci, 1547: Io canterei d'amor
5. Adrian Willaert - La Rose
6. Andrea Inghisciano - Ricercata improvvisata per cornetto
7. Salomone Rossi - Varie sonate, sinfonie, gagliarde, brandi e corrente, Libro quarto, Venezia 1622: Sonata duodecima sopra la Bergamasca
8. Andrea Inghisciano - Improvvisazione sopra Mille regretz di Josquin Desprez
9. Giovanni Felice Sances - Cantade, Libro secondo, Venezia 1633: Usurpator tiranno
10. Giuseppe Giamberti - Duo tessuti con diversi solfeggiamenti, scherzi, perfidie et oblighi, Roma 1657: Ballo di Mantua
11. Claudio Merulo - Canzon di diversi per sonar, Venezia 1588: Canzon l'olico
12. Claudio Monteverdi - Parnassus Musicus Ferdinandaeus, Venezia 1615: Cantate Domino
13. Andrea Inghisciano - Variazioni improvvisate sopra l'aria di Firenze
14. Traditional - Passo e mezzo (British Library App. 59-62)
15. Giovanni Valentini - Sonata enharmonica (Partiturbuch Ludwig, 1622)
16. Carlo Gesualdo - Gagliarda del Principe di Venosa (Real Conservatorio di San Pietro a Majella, Napoli)
17. Andrea Falconieri - Il primo libro di canzone, sinfonie, fantasie, capricci, brandi, correnti, gagliarde, alemane, Napoli 1650: Passacaglia
18. David Brutti - Ricercata improvvisata per cornetto tenore
19. Annibale Gregori - Ariosi concenti, Venezia 1635: Ciaccona à due soprani

I Cavalieri del Cornetto

    Andrea Inghisciano, cornett

    David Brutti, cornett

    Simone Vebber, organ

Date: 2024

Label: Musica Novantiqua

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About their recording Andrea Inghisciano writes: “The cornett is probably the most strongly linked instrument to the practice of diminution, the art of varying melodies through improvisation, for which numerous treatises were printed in Italy in the 16th and 17th centuries, and it is precisely at the turn of these two centuries that this instrument had its greatest expression. In the modern rediscovery and practice of music from past centuries, much has been done in many aspects, but not enough to revive the practice of improvisation, which was once an indispensable skill for all instrumentalists and singers. What I am most passionate about in my journey as a cornett player is precisely the study and experimentation of these techniques of improvised ornamentation, and I Cavalieri del Cornetto brings together musicians with this interest, who interact with a common language characterized by spontaneity and virtuosity, making the pieces sometimes only slightly variated, other times radically distorted. In doing so, we often obtain a kind of collective improvisation that the ancients in some cases complained about, as you can read in the quotes below, but as happens in the jazz world and in other musical genres that include improvisation, there have always been various approaches, derived both from inspiration and from individual technical skills, and although both musicians and listeners often disagree on musical tastes, all realities contribute to offering us a panorama as varied as possible.”