Through the combination of sacred and profane that she embodies, the profoundly human personality of Mary Magdalene greatly inspired artists of the Baroque era, whether painters, poets or composers. It was in the sphere of influence of Italian oratorios, highly prized at the court of Vienna, that Antonio Bertali devoted a most moving sepolcro to her in 1663, a genre traditionally played during Holy Week. In 1617, in Mantua, it was in the form of theatrical interludes that she was honoured by court composers such as Salomone Rossi, Muzio Effrem and Claudio Monteverdi, who wrote the prologue for this other Maddalena.
Bertali’s life seems to embody the typical experiences that top-notch musician would expect during the seventeenth century: his playing and composing centered around court life. Bertali served under the Habsburgs of Austria. The program notes point out that, although he was mainly a composer of oratorio and opera, his instrumental works still merit attention. This point is made best by giving this disc a thorough hearing. The sonatas which make up the majority of the repertoire here are delightful miniatures. Highly sectional and often inspired by dance rhythms, these pieces sometimes feel like dance suites.
…The playing is superb, the intonation impeccable, the interpretation brilliantly original. Technically, these sonatas are well-done, with a live acoustic, but plenty of recorded detail to capture the clean playing by the FBO Consort.
Tears of Joy is the Italian guitar hero's ninth and most indulgent album to date. Recorded over a residency with hailed engineer Martin Levan at Red Kite Studios in the seclusion of deepest Carmarthenshire, Forcione was joined by a host of world class musicians, including the Antonio Forcione Quartet. Tears of Joy truly marks the affirmation of a great musical visionary's compositions and arrangements. An awesome mixture of utterly compelling original material, the music on Tears Of Joy has been written, arranged and produced by Antonio Forcione. He evokes a wide range of emotions from deep contemplation to ecstatic celebration, combining technical brilliance with emotional depth.
In seventeenth-century Germany, a Wunderkammer (typically translated as “Cabinet of Curiosities”) was a type of private museum collection in the home of an aristocrat. Always in search of the most fascinating music from this era, ACRONYM has unearthed a large number of previously unrecorded manuscript sonatas written by long-forgotten composers. Some of these pieces contain harmonic eccentricities, rhythmic or metric irregularities, or structural curiosities. This disc includes ten such works, ACRONYM's own musical Wunderkammer. The composers are Samuel Capricornus, Adam Drese, Johann Philipp Krieger, Andreas Oswald, Antonio Bertali, Daniel Eberlin, Philipp Jakob Rittler, Georg Piscator, Alessandro Poglietti, and Clemens Thieme.