The early decades of the Italian seicento were astonishingly fruitful for the arts, and for music in particular: the emergence and refinement of Monteverdi’s ‘seconda pratica’ opened up a new realm of expressive possibilities, which composers were quick to take advantage of. The elegance and proportion of the previous century began to be coloured by a new zest for meraviglia (‘wonder, astonishment’), from which instrumentalists and singers alike benefited.

Monteverdi String Band in Focus explore this territory with voice, violin, and lute and theorbo. Inspired by the perennial advice for instrumentalists to model their playing on the execution of good singers, the violin takes the role of a second voice in several works, including Monteverdi’s iconic ciaccona ‘Zefiro torna’. The emerging instrumental styles are showcased in works by Marini and Kapsberger, and the solo voice runs the gamut of expressive styles, with Merula’s heart-rending lullaby to the infant Christ, painfully cognizant of his destiny, as one of the highlights.

Monteverdi: Zefiro torna
Luzas: Deh vieni ormai
Caccini: Vergine bella
Monteverdi: Ohimè ch’io cado
Marini: Sonata variata
Carissimi: Exulta, gaude, filia Sion
Palestrina: Vestiva i colli
Anerio: Vestiva Galliard
Sances: O Domine Jesu
Bassano: Ricercata settima
Crequillon: Par trop souffrir
Nauwach: Passeggiata Amarilli mia bella
Marini: Sonata
Merula: Canzonetta spirituale
Webber: Ciacona Carlo G: Mater Ierusalem
Merula: Cantate Jubilate