Biagio Pesciolini (1535-1611) – Secondo Libro di musica sacra, Venezia 1605

Format : CD

Biagio Pesciolini (1535 – 1611): Secondo libro di musica sacra:
1 Pesciolini: Secondo libro di musica sacra: Confitemini Domino 02:45
2 Pesciolini: Secondo libro di musica sacra: Omnes gentes 02:43
3 Pesciolini: Secondo libro di musica sacra: Dilectus meus 03:52
4 Pesciolini: Secondo libro di musica sacra: Benedicite omnia opera 03:13
5 Pesciolini: Secondo libro di musica sacra: Decantabat populus 03:30
6 Pesciolini: Secondo libro di musica sacra, Missa decantabat: I. Kyrie 04:09
7 Pesciolini: Secondo libro di musica sacra, Missa decantabat: II. Gloria 06:38
8 Pesciolini: Secondo libro di musica sacra, Missa decantabat: III. Credo 09:47
9 Pesciolini: Secondo libro di musica sacra, Missa decantabat: IV. Sanctus 01:50
10 Pesciolini: Secondo libro di musica sacra, Missa decantabat: V. Agnus Dei 02:05
11 Pesciolini: Secondo libro di musica sacra: Magnificat 06:47
12 Pesciolini: Secondo libro di musica sacra: Omnia quæ fecisti nobis 03:05
13 Pesciolini: Secondo libro di musica sacra: Adoramus te Christe 03:04
14 Pesciolini: Secondo libro di musica sacra: Missus est Gabriel Angelus 03:19
15 Pesciolini: Secondo libro di musica sacra: Minuisti eum 03:11
16 Pesciolini: Secondo libro di musica sacra: Mirabile mysterium 03:51
17 Pesciolini: Secondo libro di musica sacra: Crucem pro nobis

This recording project – the culmination of a research work that started out in 2020 – follows the released record of the third book of madrigals (Tactus, tc 531601, 2021) by the same author, which was the result of the first collaboration between conductor Elia Orlando, ensemble Tuscae Voces – that he conducts – and record label Tactus. It is safe to say that the outcomes confirm how the musical landscape in Renaissance Prato deserves way more attention than it has drawn so far, and that Biagio Pesciolini – besides being closely connected to the Florentine court – was an author whose vision went beyond the city walls of Prato. Although praised by peers Ludovico Zacconi and Antonio Brunelli for his mastery of those techniques that belong to Flemish-origin ars musica, he skilfully took on both “orthogonal” writing for double choir and winding compositions for five and six voices, which proves that Biagio Pesciolini was indeed open and receptive to the different tendencies of Italy’s most important musical centres.

Tuscae Voces
La Pifarescha
Cornetto: Andrea Inghisciano
Cornetto tenore: David Brutti
Trombone tenore: Mauro Morini
Trombone basso: Fabio Costa
Elia Orlando, direction