Jessica Gould & Diego Cantalupi | I Viaggi di Caravaggio

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Classical: Early Music Classical: Baroque Moods: Mood: Intellectual
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I Viaggi di Caravaggio

by Jessica Gould & Diego Cantalupi

Voyages in musical chiaroscuro by seventeenth century Italian composers Benedetto Ferrari, Laurencini, Tarquinio Merula, Giovanni Felice Sances, Giovanni Antonio Rigatti, Domenico Mazzocchi, and Giovanni Girolamo Kapsberger
Genre: Classical: Early Music
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  Song Share Time Download
1. Cantata Spirituale
Jessica Gould & Diego Cantalupi
10:17 $0.99
2. Praeambulum
Diego Cantalupi
2:00 $0.99
3. Canzonetta spirituale sopra alla 'Nanna'
Jessica Gould & Diego Cantalupi
6:58 $0.99
4. Vestiva i colli (Palestrina)
Diego Cantalupi
3:47 $0.99
5. Stabat Mater, Pianto della Madonna
Jessica Gould & Diego Cantalupi
9:27 $0.99
6. Fantasia
Diego Cantalupi
3:09 $0.99
7. Ave Regina Cælorum
Jessica Gould & Diego Cantalupi
3:33 $0.99
8. Toccata VI
Diego Cantalupi
3:56 $0.99
9. Lagrime amare
Jessica Gould & Diego Cantalupi
4:23 $0.99
10. Toccata III
Diego Cantalupi
2:37 $0.99
11. Figlio dormi
Jessica Gould & Diego Cantalupi
4:38 $0.99
Downloads are available as MP3-320 files.


Album Notes
Rome, May 28 1606

Between the hours of seven and ten in the evening, Michelangelo Merisi da Caravaggio, painter and scholar of S. Luca, after a quarrel during a game of tennis, mortally injured Ranuccio Tommasoni.

In reality, the game of tennis was only a pretense: Caravaggio had had a relationship with Lavinia Giugioli, wife of Tommasoni, from which issued a daughter. But that wasn’t all: Tommasoni would have hated Caravaggio also for “professional” motivations. Despite originating from a wealthy family, Tommasoni was reputedly stopped by the Vatican police in the company of a prostitute, and determined to be her pimp, putting him in the company of and competition with Caravaggio, who during his Roman sojourn would have engaged in the same profession.

Lavinia was not the only lover of Caravaggio. Maddalena Antognetti, called “Lena,” described in various chronicles as a “lover of Michelangelo” will be one of the models depicted in some of Caravaggio’s most famous paintings. Young Lena was previously the lover of the Cardinal Montalto, then of Monsignor Melchiorre Crescenzi and of Cardinal Peretti, nephew of Pope Sixtus V. She was part of a group of high level prostitutes which included Fillide Melandroni, Menica Calvi, and Tella Brunori.

To use Lena as the model for Maddalena in Estasi was a risky move. The young woman was very well known in Rome. That the Council of Trent had specifically banned “all the licentiousness of a shamelessly beautiful figure” and notably, above all that of a prostitute, created a dangerous situation inviting many adversaries.

As soon as the duel was finished, concluding with the death of Tommasoni, the conversations turned immediately to where a painter as famous as Caravaggio would have fled while injured. Perhaps he found refuge with Cardinal Dal Monte (ready to set in motion a flight from Rome), or maybe he escaped to Palazzo Giustiniani, or maybe still he was at Palazzo Colonna, finishing off his Roman years right where they began.

It is precisely between these palace walls he would meet some of the greatest geniuses of his day: Domenico Mazzocchi, who was in the service of Cardinal Ippolito Aldobrandini, of the Borghese family, the Cardinal Odoardo Farnese and the Cardinal Maffeo Barberini, then elected to the Pontifical throne as Urban VIII.

The intensity, gravity, and the emotional detachment of theMaddalena ricorre alle Lagrime cannot have been suggested by anything other than the Maddalena in estasi (Model: Maddalena Antognetti, called Lena).

Along this line of thinking, it is difficult not to conjecture a visual suggestion present in many composers, Roman and not, from the beginning of the 17th century: The Crown of Thorns ofCaravaggio, in the collection of the Kunsthistorisches Museum of Vienna and the cantata Queste dolenti spine of Benedetto Ferrari, a composer of Modena who worked in Rome from 1617 to 1618, or the Deposition of Christ, seen in the Vatican Museum, and the Stabat Mater of Giovanni Felice Sances, born in Rome in 1600.

Or still the Nativity with Saints Laurence and Francis (model: the prostitute Fillide Melandroni), in the collection of the Oratorio of Saint Laurence in Palermo, and the Canzonetta spirituale sopra la Nanna of Tarquinio Merula of Cremona; The Annunciation, viewable in Nacy and the motet Ave Regina Caelorum of Giovanni Antonio Rigatti; the Rest during the Flight into Egypt (model: the prostitute Anna Bianchini, known as “Annuncia”) in the collection of the Galleria Doria Pamphilj in Rome, and the Ninna Nanna of Girolamo Kapsberger (1580 – 1671), the Venetian-born composer and lutenist, but active in Rome at the court of Urban VIII.

Great virtuoso of the instrument and probably the teacher of Girolamo Frescobaldi, Kapsberger represents a bridge between the music and lute-playing technique of the Renaissance and the new Stylus Phantasticus of the Baroque. He is greater than both, in my opinion, incarnating in music the same spirit of innnovation and wonder that Caravaggio represents for painting.

– Diego Cantalupi

– English Translation by Jessica Gould

About the Artists

Soprano and Salon/Sanctuary Founder and Artistic Director Jessica Gould enjoys consistent critical praise both for compelling performances and innovative research projects that view history through the prism of music. As a soprano, she has been noted for “a dramatic intensity that honored the texts” (The New York Times), for “expansive range, coloratura facility, and multi-hued, powerful sound” (Seen and Heard International), and for having “reached the heart of an enraptured English audience” (Traditional Music Maker, UK). Her original programming featuring repertoire from the 8th to 18th centuries has been praised as “impeccably curated” by Time Out New York, “highly original” by The New York Times, and “imaginative” by New York Magazine.

Among her recordings is the New World Records CD Tell the Birds, with actor Roger Rees and the Paul Dresher Ensemble featuring works of composer Eve Beglarian. Forthcoming CDs include a program of Neapolitan cantatas with Swiss recorder virtuosa Corina Marti, and a program of seicento Venetian music with L’ Aura Soave - Cremona on the MV Cremona label. American radio broadcasts include WQXR, NPR, WKCR, and MPR, among others. Chamber music performances include The Guggenheim Works & Process Series with the Cassatt Quartet, the Beinecke Library at Yale University, the Clarion Society, Sinfonia New York, the Four Nations Ensemble, the Virginia Arts Festival, the American Philosophical Society, and as well as numerous guest soloist appearances with numerous ensembles. Presenters abroad include the Istituto Francese, Martedì in Arte at the Palazzo Davanzati, Casa Martelli, the Church of Santissima Annunziata, the Museo di Arte Sacra in Tuscany, Scandicci Cultura, and the Library of the Museo di San Marco (Florence), the Chiesa di Santa Barbara dei Librari, Primavera in Musica (Rome), the UK Lute Society (London) and Hengrave Hall (Bury St. Edmunds, UK).

From Ghetto to Cappella, her original program commemorating the 500th anniversary of the creation of the Venetian Ghetto, was selected to be part of the Carnegie Hall La Serenissima Festival in 2017, and received the patrocinio of the Comune di Sabbioneta, Italy, where it was performed in the Teatro all’Antica, a UNESCO World Heritage site, one of three remaining Renaissance theaters in the world, constructed in 1590. Previous to the Sabbioneta concert, From Ghetto to Cappella was presented by the Great Synagogue of Florence, Italy after being premiered in New York City at the St. Paul’s Chapel of Columbia University.

Diego Cantalupi is one of the Italy's leading lutenists, noted both as a performer and as a musical scholar with a strong interest in history, literature and the visual arts. Born in Milan, he studied guitar with Mauro Storti, graduating from the Conservatorio ‘A. Boito’ in Parma, and Music at the Scuola di Paleografia e Filologia Musicale in Cremona – Pavia University, taking a degree with honors in Musicology. Parallel interests in Renaissance, Baroque and Pre-Romantic music led him to study ancient performance techniques, following courses in lute-playing at the ancient music department of the Civica Scuola di Musica in Milano (Paul Beier) and at the Conservatory of Parma (Andrea Damiani).

Since 1995 he has appeared with leading early music ensembles such as L’Arte dell’Arco, La Venexiana, Capella Savaria, Accademia Bizantina, Risonanze, Capriccio Basel, Orchestra Barocca di Bologna, Anton Webern Chor, Camerata Vocale Freiburg, Kammeakademie Potsdam. His research led to a doctoral thesis on the history of the theorbo completed in 2001, published by Cremonamusica. He has also written several lute-related articles. Mr. Cantalupi’s solo repertoire ranges from the 16th to the 21st centuries, on lutes and early guitars. His recordings include over 100 CDs, including many for solo lute or incorporating prominent solo roles.

Founder and artistic director of the ensemble ‘L'Aura Soave - Cremona’, he works on unpublished Italian music projects from the renaissance to the early nineteenth century. An experienced teacher at all levels, Mr. Cantalupi teaches lute at the Conservatory of Bari, and is on the faculty of many summer schools and courses. He is regularly invited to serve as specialist examiner by both universities and music conservatoires, and is currently preparing the first modern method for theorbo.



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