I_DISINVOLTIearly_music_ensemble

I_DISINVOLTIearly_music_ensemble

ENSEMBLE

Founded in 2018, « i Disinvolti » is an early music ensemble whose main mission is the re-discovery of italian unedited music, with a special focus on three male voices repertoire from XVII century Venice and surroundings. Each of the group members has active collaborations - as an ensemble singer/player and as a soloist - with some of the most renown early music european groups, such as: Concerto Italiano, La Compagnia del Madrigale, Vox Luminis, Accademia Bizantina, De Labyrintho, Coro e Orchestra Ghislieri, La Risonanza, Odhecaton, Cantica Symphonia, Cantar Lontano, La Fonte Musica, La Cetra, La Venexiana, Ensemble Micrologus. Their debut album has been released by Arcana (Outhere): a «Vespro della beata vergine» by Giovanni Antonio Rigatti, recorded as World Premiere in collaboration with UtFaSol Ensemble.

MASSIMO_LOMBARDI
tenor_&_conductor
BIO

  
MASSIMO_ALTIERI
tenor
BIO

  
GUGLIELMO_BUONSANTI
bass
BIO

  
NOELIA_REVERTE_RECHE
viola_da_gamba_&_lirone
BIO

  
MARCO_SACCARDIN
theorbo_&_baritone
NICOLA_LAMON
organ_&_harpsichord
BIO

  
PROGRAMS
RIGATTI_VESPERS
vespers_for_the
blessed_virgin
[1643]

The Psalms and the Magnificat of Rigatti's 1643 collection offer the backbone of these Vespers for the Blessed Virgin. The program is completed by vocal and instrumental pieces of coeval composers (Banchieri, Usper, Patta, Del Buono, Milanuzzi) and by the proper gregorian chants for the Feast.

DETAILED_DESCRIPTION

Considered by many musicologists as one of the most important composers of sacred Italian music from the first half of Seicento, Rigatti began his musical path as «puer cantor» in the choir of St. Mark in Venice, serving then as choirmaster in Udine's Cathedral from 1635 to 1637. Back in Venice, from 1639 he has been organ and music teacher for the young ladies of Ospedale dei Mendicanti and Ospedale degli Incurabili.

The backbone of this «Vespro della Beata Vergine» consists of a selection of Psalms and a Magnificat selected from the reprint - the first edition (1641 or 1642) is lost - of «Messa E Salmi Ariosi a Tre Voci Concertati, & parte Con li Ripieni à beneplacito» by Giovanni Antonio Rigatti, edited in Venice in 1643 by Bartolomeo Magni. The instrumentation of this collection is mainly for three male voices - two tenors and a bass - with basso continuo, to which is sometimes added an «ad libitum» four-voices choir, superseded in this case by a quartet of wind intruments (cornetto and three sackbuts), following the widespread custom in the XVII century of replacing missing voices with wind or string instruments with similar tessitura.

Vocal and instrumental pieces of other composers (Carlo Milanuzzi, Giovanni Battista Riccio, Francesco Usper, Adriano Banchieri, Serafino Patta, Gioanpietro Del Buono e Andrea Gabrieli) complete the liturgy of the Vespers, in addition to the proper gregorian chants.

Recorded as a world premiere in collaboration with UtFaSol Ensemble, this album has been released by Arcana (Outhere).

PROGRAM_&_DURATION
MEDIA
VULNERASTI_COR_MEUM
thou_hast
ravished_my_heart

Anthological program around the Song of Songs. In addition to motets of Monteverdi, Grandi and Rovetta, authentic masterpieces by lesser-known composers are proposed, built around the most sensual of biblical texts.

DETAILED_DESCRIPTION

Attributed to King Solomon but in all probability composed by an anonymous poet around the 4th century BC, the «Song of Songs» represents a remarkable peculiarity within the biblical corpus: it does not deal with Law, Knowledge or the relationship with the Divinity , but it is a sensual and passionate dialogue between two lovers. Many words were spent about the interpretation of this text pervaded by undeniably erotic metaphors and similes: for the Jews it is the allegory of the relationship between God and Israel, for the Christians it represents the love of Jesus for the Church, his bride.

But in the scope of sacred music this very singular text takes on a further meaning: the bride becomes the Holy Mother, who perfectly fits all those attributes that were previously intended for the beloved (pulchra, speciosa, columba, friend, sponsa). This is a very ancient custom: in the Liturgy of the Hours (inspired by the Rule of St. Benedict, dated 540) the antiphons for the Vespers dedicated to the Blessed Virgin are in fact taken from the text of the Song of Songs.

Music by Claudio Monteverdi, Alessandro Grandi, Giovanni Rovetta, Ignazio Donati, Giovanni Valentini, Orazio Tarditi, Francesco Casati, Giulio Cesare Monteverdi, Giovanni Bernardo Colombi, Leone Leoni, Serafino Patta.

This program has been recorded in June 2021: it is the second project of «I Disinvolti» and will be available on CD in 2023.

PROGRAM_&_DURATION
SALVE_REGINA
marian_devotion
in_XVII_century

Placed inside a frame of five «Salve Regina» by Monteverdi, the cult of the Holy Mother is described through marian motets and antiphons by other composers, active in different cities of northern Italy during the first half of 17th century.

DETAILED_DESCRIPTION

Just one of the four marian antiphons sung at Compline at different seasons during the liturgical year, «Salve Regina» has been the favourite and most set in music by the composers of the 17th century. This program develops inside a frame of five «Salve Regina» by Claudio MONTEVERDI: two for three male voices, one for two tenors and two for tenor solo.

Inside the area defined by these pieces, other marian devotional music by the most talented composers has been chosen for its analogy and contrast to Monteverdi's style: in the music of the venetian composers (Rovetta and Monferrato) his influence is quite clear and recognizable, not so much for the composers who have trained and have worked in other musical realities of the north of Italy (Modena, Bologna, Bergamo).

Music by Claudio Monteverdi, Giovanni Rovetta, Natale Monferrato, Tarquinio Merula, Giovanni Felice Sances, Giovanni Paolo Caprioli, Giovanni Valentini.

This program will be the third recording project of «I Disinvolti», planned for 2024.

PROGRAM_&_DURATION
MONTEVERDI'S_HERITAGE
on_the_footsteps
of_the_maestro

Claudio Monteverdi and his influence on his subordinates in St. Mark (Giovanni Rovetta and Alessandro Grandi), on his brother Giulio Cesare Monteverdi and on other Venetian composers active in the same period, Giovanni Antonio Rigatti and Giovanni Battista Riccio amongst the others.

DETAILED_DESCRIPTION

Claudio Monteverdi has been a pivotal figure in the transitions from the «stile osservato», product of the Renaissance, to the new and daring style of «Seconda Prattica». But he was certainly not the only one to use the new expressive tools: a whole generation of young musicians came in contact with his music and has been formed under his guide at the St. Mark.

Monteverdi arrived in Venice in 1613, aged 46 and already an expert musician: the Vespers has been published three years before, the Sixth Book of Madrigals would have been printed during the following year. His predecessor Giulio Cesare Martinengo left the musical chapel in bad shape, but Monteverdi lifted if out of his condition: he reorganized the structure, bought new scores and hired new musicians, thus bringing it back to the level worthy of one of the most important musical centers in Europe.

From 1613 to 1643, year of his death, some of the best musicians gravitated around Monteverdi, over all Alessandro Grandi (vice-maestro from 1620 to 1627), Giovanni Rovetta (vice-maestro since 1627 and Maestro di Cappella after Monteverdi's death) and Giovanni Antonio Rigatti (since 1621 in St. Mark as a choirboy, from 1639 on has been employed in different Venetian «Ospedali»). Maybe not everybody knows that also Claudio's younger brother, Giulio Cesare Monteverdi, has been a talented composer and organist...

This program proposes an anthology for one to three voices, narrowly selected to underline common traits and peculiarities of Claudio Monteverdi, Giovanni Antonio Rigatti, Giovanni Rovetta, Alessandro Grandi, Giulio Cesare Monteverdi, Giovanni Battista Riccio.

PROGRAM_&_DURATION
MEDIA
CRUDO_AMOR
ET_DOLCE_MORTE
cruel_love
and
sweet_death

Amorous yearnings and fatal abandons in a rich florilegium of concertato madrigals and canzonettas, selected within the output of Claudio Monteverdi, Giovanni Antonio Rigatti, Alessandro Grandi, Barbara Strozzi & others.

DETAILED_DESCRIPTION

In 1619 Claudio Monteverdi sends to print his Seventh Book of Madrigals, whose title - «Concerto» - is an example of the compositional trend that developed between the 16th and 17th centuries, that is the birth of Basso Continuo. New expressive expedients, in addition to the use of concerted instruments, are explored in every possible form by Monteverdi and other valid composers all over the peninsula, finding however tenacious resistance in Rome, still too tied to Palestrina's polyphonic lesson to fully absorb the new stylistic wave.

Following the path marked by Monteverdi, this anthological program proposes madrigals for one, two and three voices by authors from various backgrounds but all active between the 1620s and 1640s. The aim is, in particular, to underline the oxymoronic relationship of Love and Death: cruel, painful, aching the former - sweet, liberating, releasing the latter.

Music by Claudio Monteverdi, Barbara Strozzi, Alessandro Grandi, Giovanni Rovetta, Giovanni Antonio Rigatti, Pietro Andrea Ziani.

PROGRAM_&_DURATION
AGENDA
29_may_2022 | 21.00

crypt_of_piacenza_cathedral
piazza_duomo | piacenza

VULNERASTI_COR_MEUM
Image
30_august_2022 | 21.00

SEGNI_BAROCCHI_2022

church_of_san_giovanni_battista
via_allegri_2 | san_giovanni_profiamma [PG]

VULNERASTI_COR_MEUM
Image
Image
RECORDINGS
giovanni_antonio_rigatti
VESPRO_DELLA_BEATA_VERGINE

Two young Italian ensembles join forces to revive a Vespers setting of the Venetian school dating from the year of Monteverdi’s death. Regarded by musicologists as one of the leading Italian composers of the early seventeenth century, Giovanni Antonio Rigatti pursued the major part of his musical career in Venice, in the shadow of the ‘divine Claudio’. The framework of this Vespro is taken from the 1643 collection Messa e Salmi ariosi a tre voci. The performing forces are unusual: three male voices and basso continuo, with an ad libitum choir of instruments (cornetto and three trombones). An agile, inventive and expressive setting of the Office of Vespers, which stylistically owes a great deal to Monteverdi’s Selva Morale e Spirituale, an undoubted source of inspiration for Rigatti. It contains thirteen unpublished pieces, here presented in their world premiere recording.

REVIEWS
GALLERY
VIDEOS

DIXIT_DOMINUS

giovanni_antonio_rigatti

messa_e_salmi_ariosi_a_3_voci
venezia :: 1643

+ utfasol_ensemble

SALVE_REGINA

giovanni_antonio_rigatti


primo_parto_de_motetti_e_cantilene
venezia :: 1640

PROVIDEBAM_DOMINUM

giovanni_bernardo_colombi


sacræ_et_divinæ_cantiones
venezia :: 1619

LAETATUS_SUM

giovanni_antonio_rigatti


messa_e_salmi_ariosi_a_3_voci
venezia :: 1643

NISI_DOMINUS

giovanni_antonio_rigatti


messa_e_salmi_ariosi_a_3_voci
venezia :: 1643
CONTACT
MASSIMO_LOMBARDI
artistic_director

E_MAIL
INFO
q_&_a

E_MAIL
MARIA_CHIARA_GALLO
management

E_MAIL
© 2022 Massimo Lombardi / I Disinvolti. All Rights Reserved.