Spiriti bellissimi

The Laudarium of S.Maria del Fiore and the spiritual music
in between the XVI and XVII centuries

 

E.CAVALIERI Il Ciel clemente (1)

ANONYMOUS O Vergin gloriosa (2)

Maria Vergin (2)

Ave del mare stella (2) 

ANONYMOUS Spirti bellissimi (2)

G.M.CASINI A bell’arte (3)

P.P.SABBATINI Vieni, vieni, o diletta (4)

 

G.M.CASINI Nelle pene (3)

ANONYMOUS Fredd’è quel cuore (2)

G.M.CASINI Già m’accende (3)

M.DA GAGLIANO Valli profonde (5)

G.F.ANERIO O tu che vai per via (6)

 

G.M.CASINI Adorato mio Signore (3)

ANONYMOUS Non più cresca l’ardore (7)

G.M.CASINI Lasciare d’amare (3)

 

G.M.CASINI Al cielo volate (3)

E.CAVALIERI Chiostri altissimi e stellati (1)

 

(1) from “Rappresentazione di Anima et di Corpo, 1600

(2) from Laudarium of S.Maria del Fiore

(3) from “Canzonette sprituali”, Firenze 1703

(4) from “Intermedii spirituali. Libro I”, Roma 1628

(5) da from “Musiche”, Venezia 1615

(6) from “Selva armonica”, Roma 1617

(7) from “Scelta Di laude Spirituali”, Firenze 1657

L’Homme Armé

Conductor Fabio Lombardo

Between the end of the 16th and the beginning of the 17th centuries, spiritual music developed considerably as an aftermath of the Counter-Reformation. A flourish of collections appeared, in print or in manuscript form, containing laude and spiritual songs that combined religeous or moral texts with a modern, but usually quite simple, musical language. This repertoire was meant to entertain, with lightness and wonderment, but also elevate on a moral plane the audiences that attended oratorio meetings.
Florence was particularly responsive to this genre all along the 17th cent., as testified by the precious codex Laudario di Firenze.

Ensemble: 4 singers, cornetto, trombone, organ, theorbo, renaissance harp