Axelle Verner (Mezzo-Soprano), Alice Duport-Percier (Soprano)
Albane Imbs (Conductor)
Contents Kapsberger: Che fai tù? Kapsberger: Sonino Kapsberger: Toccata Settima Kapsberger: Correte pescatori Kapsberger: Passacaglia Kapsberger: Trà queste Kapsberger: Alla caccia Kapsberger: Canarios Kapsberger: All’ombra Vitali, G: Passa Galli Kapsberger: Lascivette pastorelle Kapsberger: Vedete la mia luce Kapsberger: Ritornello Kapsberger: Non sa che sia dolor’ Kapsberger: In te la vita Kapsberger: Gagliarda ottava Kapsberger: Cinta di rose Kapsberger: Ardir Kapsberger: O fronte serena Kapsberger: Corrente seconda Kapsberger: L’onda che limpida Kapsberger: Spiega spiega Kapsberger: Fulminate Kapsberger: Corrente Prima Kapsberger: Figlio dormi
Formed in 2015 by four young musicians, Les Kapsber’girls, by their very name, send a nod and a wink to one of their favorite composers. It is thus quite natural that their first recording be dedicated to the works of Girolamo Kapsberger, a virtuoso musician and exceptional composer in Rome in the early XVIIth century. The extreme variety of his output bears witness to the artistic effervescence of pre-baroque Italy and of the immense talent of one of the geniuses of music history. His four books of villanelles are veritable gems of music; from one work to another he takes us to the heart of a world of bucolic poetry with some instructive contrasts. The extraordinary diversity of the characters and colors of these even now little-known airs makes us dream, surprises and amazes us, and leaves us with a strange yet pleasant sense of nostalgia. With “Che fai tù?”, the Kapsber’girls present a rediscovery of these little gems through their unique performance style. The songs alternate with instrumental pieces that enable us to appreciate the sound of Albane Imbs on a variety of plucked string instruments. All of this is brilliantly brought together (and in sound) thanks to the artistic direction of Rolf Lislevand, the illustrious specialist of this repertory! In search of new keys for reading and interpreting the historical sources, the four Kapsber’girls throw an oblique light on these works, finding new pathways and having fun with the genre. Energy and vitality taken from ‘popular’ forms of music, colorations tending towards the tones of contemporary music and a restless desire to look for the new in the old are all on the agenda.