Esfera Armoniosa | Io Vo Cantar

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Classical: Baroque Classical: Early Music Moods: Type: Instrumental
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Io Vo Cantar

by Esfera Armoniosa

This wonderful selection of 17th. Century Italian songs, magnificently interpreted by this excellent group of talented Colombian musicians, shows a vibrant and intricate array of sounds from flutes, voice, guitar, laud and viola proper of the Baroque era.
Genre: Classical: Baroque
Release Date: 

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  Song Share Time Download
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1. Ciaccona
La Esfera Armoniosa
2:08 $0.99
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2. Aria di Passacaglia
La Esfera Armoniosa
4:23 $0.99
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3. Io vo Cantar
La Esfera Armoniosa
2:31 $0.99
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4. La Capriola
La Esfera Armoniosa
4:11 $0.99
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5. Piangono al pianger mio
La Esfera Armoniosa
4:02 $0.99
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6. Allegrezza del nuovo Maggio
La Esfera Armoniosa
2:54 $0.99
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7. Allemanda, Courante, Sarabanda e Tordiglione
La Esfera Armoniosa
7:08 $0.99
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8. Tutto il di piango
La Esfera Armoniosa
6:09 $0.99
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9. Sinfonia Terza "Sghemma"
La Esfera Armoniosa
3:49 $0.99
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10. Iubilent Omnes
La Esfera Armoniosa
4:04 $0.99
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11. Sonata seconda
La Esfera Armoniosa
6:59 $0.99
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12. Donna che Ioda il canto di bellissimo giovanetto
La Esfera Armoniosa
5:06 $0.99
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13. Preludio e passacaglia
La Esfera Armoniosa
4:10 $0.99
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14. O bellezza gentile
La Esfera Armoniosa
3:17 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Io vo Cantar

This production that we have named Io vo Cantar is not just a recording of Italian music from the 17th century interpreted by Colombian musicians. It is the result of an academic project that started in Bogotá in February of 2006, when the group members of the ensemble La Esfera Armoniosa join, all of them followers of this type of repertoire, who were educated in various schools.

After several years of studying in Switzerland, my concern upon returning to my country was that of contributing to the academic development within the already existing early music movement in Colombia. When we speak of this musical period we should concentrate on Italy; after all, it is there that we can find the sources, the various styles, the diversity of language, the dramatic and theatrical texts and development of ornamentation.

This recording is the result of three years of academic work, of analysis, of reading numerous Italian compositions and essays of the period, and of having traveled our country while playing this type of repertoire, always counting on the marvelous reception of Colombian audiences. It is also worth mentioning that this is the first time that 17th century Italian music is recorded in Colombia with instruments that are copies from the time period.

I would like to give very special thanks to all of those who collaborated together to make this project possible: to our families, especially Pablo Agustín, Tomás and Juan Camilo, for their support, and to my father, may he rest in peace, for all of his lessons and to God for giving me a second chance at life to be able to enjoy this beautiful project.

Claudia Liliana Gantívar

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