Portrait of the Artist as a Starved Dog Graindelavoix & Björn Schmelzer

• Cipriano de Rore (1515 - 1565):
• 1L'ineffabil bontà del Redentore02:16
• Philippe Verdelot (1480 - 1530):
• 2Queste non son più lagrime07:16
• Guillaume Morlaye (1510 - ?):
• 3Non son io che pai' in visio02:09
• Cipriano de Rore:
• 4Era il bel viso suo qual esser suole04:35
• 5Convien che ovunque sua sempre cortese04:41
• 6Come la notte ogni fiammella è viva02:35
• 7Alcun non puo saper da chi sia amato02:41
• 8L'inconstantia che seco han03:09
• 9La giustitia immortale02:13
• 10O morte eterno fin03:23
• 11Se ben il duol05:28
• 12Mia benigna fortuna07:28
• 13Beato mi direi05:35
• 14Poi che m'invita Amore05:33
• 15Dissimulare etiam sperasti09:29
• 16Se come il biondo crin de la mia Filli02:08
• 17Mentre, lumi maggior04:32
• Total Runtime01:15:11

Info for Portrait of the Artist as a Starved Dog

The sixteenth-century madrigalist Cipriano de Rore perhaps remains something of a mystery figure in modern times, awaiting penetrating simplification and clarification. Rather than simplification, a new recording of selections from his expressive output from Björn Schmelzer and Graindelavoix, entitled Portrait of the artists as a starved dog, is more likely to yield illumination and fascination. That is Schmelzer’s way.

As with many Graindelavoix recordings on Glossa, the accompanying artwork in the CD booklet forms an integral part of the convincing performance (as does Schmelzer’s essay). Here, the imagery includes images by Albrecht D�rer and Hans Mielich, statues of Melpomene and Medusa, sculptures by Michelangelo, even a sardonyx cameo cup. A portrait of De Rore shows the inner likeness of the composer as being possessed of a manic madness or “furor divinus” and having the guise of an emaciated dog.

De Rore was born in Ronse – not that far from Schmelzer’s Antwerp – and, as well as probably being under the protection of Margaret of Parma, he travelled through Europe in the first half of the sixteenth century, notably to Ferrara. Regarded as a pivotal figure in the evolution of the madrigal, De Rore’s style developed significantly across his career and Graindelavoix’s programme gravitates from some of his settings of stanze from Ariosto’s epic poem Orlando furioso through to some of his later, much more radical madrigals. Also found on this recording is De Rore’s multi-voiced setting of Dido’s lament from Virgil’s Aeneid.

Lluis Coll i Trulls, cornet
Floris De Rycker, ceterone, lute, guitar
Graindelavoix
Björn Schmelzer, director

No biography found.

Booklet for Portrait of the Artist as a Starved Dog