Secret Music of Luzzaschi

Editorial Reviews
Amazon.com
"There can be no musical event so widely talked about... yet actually heard by so few." So wrote Anthony Rooley about the fabled Concerto delle Donne (Consort of Ladies) at the court of Ferrara in the years before 1600. These extraordinary singers were jealously guarded by Duke Alfonso d'Este and heard only by select invitees; the virtuosic music written for them by court composer Luzzasco Luzzaschi was called musica secreta. This "secret music" can certainly astonish: for example, at the opening of "Occhi del pianto mio", three sopranos sweetly warble like Renaissance Andrews Sisters--then one of them suddenly hurtles down an octave scale and back up again, followed in turn by each of the others. Deborah Roberts (of the Tallis Scholars) formed her own consort of ladies, Musica Secreta, specifically to explore the solos, duets, and trios composed for the Concerto delle Donne. She, fellow Tallis Scholar Tessa Bonner, and soprano Suzie LeBlanc (whose voice sounds a lot like Emma Kirkby's) are fully up to Luzzaschi's demands; Mary Nichols sounds uncomfortable singing solo, but she is wonderful in ensemble--a true contralto with an unusually youthful sound. --Matthew Westphal

Tracks:

Occhi Del Pianto Mio
Aura Soave
T'Amo Mia Vita
O Primavera
Toccata Del Quarto Tuono
I' Mi Son Giovinetta
O Dolcezz' Amarissime D'Amore
Ch'io Non T'ami Cor Mio
Toccata No.12
Non Sa Che Sia Dolore
Deh Vieni Ormai Cor Mio
Stral Pungente D'Amore
Canzon A 4
Ricercare
Cor Mio
Troppo Ben Puo

Amazon.com

"There can be no musical event so widely talked about... yet actually heard by so few." So wrote Anthony Rooley about the fabled Concerto delle Donne (Consort of Ladies) at the court of Ferrara in the years before 1600. These extraordinary singers were jealously guarded by Duke Alfonso d'Este and heard only by select invitees; the virtuosic music written for them by court composer Luzzasco Luzzaschi was called musica secreta. This "secret music" can certainly astonish: for example, at the opening of "Occhi del pianto mio", three sopranos sweetly warble like Renaissance Andrews Sisters--then one of them suddenly hurtles down an octave scale and back up again, followed in turn by each of the others. Deborah Roberts (of the Tallis Scholars) formed her own consort of ladies, Musica Secreta, specifically to explore the solos, duets, and trios composed for the Concerto delle Donne. She, fellow Tallis Scholar Tessa Bonner, and soprano Suzie LeBlanc (whose voice sounds a lot like Emma Kirkby's) are fully up to Luzzaschi's demands; Mary Nichols sounds uncomfortable singing solo, but she is wonderful in ensemble--a true contralto with an unusually youthful sound. --Matthew Westphal

Customer Reviews:

The Three Ladies of Ferarra.......2000-10-31

The recording of "The Secret music of Luzzasco Luzzaschi" brings a rarely heard body of work to light. In the late 16th Century The Ducal court of Ferrara held the soprano voice in such regard, that the much accalimed Singing Ladies, or "concerto delle donna" were only permitted to perform for the most honored guests and the genre was given the name "Musica Secreta". It is from this that this ensemble gets their name. The "donna " in this case are Tessa Bonner and Debra Roberts, from the Tallis Scholars, joined by Suzie LeBlanc and Mary Nichols.They are accompnied by Paula Chateauneuf and John Toll on lute and keyboard. Te result is a clear, elegant jouney deep into the secret chambers of the Court of Fererra. The "Madrigali a uno due e tre soprani" of 1601 is the only srviving collection of this once vast body of work. Luzzaschi weaves elgant and soaring harmonies ranging from poignant to ecstatic, ably executed by the ladies on this recording. The interplay of the interweaving parts create marvelous opertunities for accomplished singers such as these to really shine.It is quite a treat for the ears.

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