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Piangete
Early Music, November 2004 ...A similar selection, also with three high voices, is presented by the British group Concerto delle Donne. In Piangete: Cantatas & Motets by Giancomo Carissimi there are also no changes in the continuo line; however, the chitarrone would seem a more authentic choice for such accompaniments, rather than a bowed string instrument, whose adoption as the sine qua non of continuo scoring did not occur until later in the century. In both these recordings the performance is of a high level, though in the British example Carissimi's music finds some context in expansive preludes by Kapsberger and keyboard works by Frescobaldi and Rossi. This is a valuable way of underlining that Carissimi was not working in isolation as - arguably - the greatest figure of the period, but collaboratively participating in the extensive round of feasts which comprised the Roman liturgical year. |
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