Salomone (or Salamone)
Rossi is one of the very few Jewish
professional musicians of the baroque
era who was able to explore his talents
as a composer. In most countries in
Europe many restrictions were imposed
upon the Jewish communities which were
often forced to live in ghettos. That
wasn't any different in Mantua. It was
due to Rossi’s close connections to
the court of the Gonzagas in Mantua,
where he was born and died, that Rossi
was given the privilege of going outside
the ghetto without having to wear a
yellow star. He got experience as a
singer and violinist under Monteverdi,
who worked in Mantua from 1590 to 1612.
The good relationship
with the Gonzaga court is also reflected
by the fact that several of Rossi's
publications were dedicated to members
of the court: both his book of canzonettas
(1589) and the first book with five-part
madrigals (1600) were dedicated to Duke
Vincenzo of Gonzaga. Rossi's sister
also took profit from this connection
as she served the court as a singer
- known as 'Madama Europa' - making
her the only professional Jewish singer
of her time. She sang the title role
in Monteverdi's now lost opera Arianna.
This disc contains
the complete book of madrigals for four
voices, which was published in 1614.
Most madrigals in it were probably written
around 1600. Indications for this are
the writing in four parts - which was
out of fashion at the time of publication
- and the frequent use of texts by Guarini,
most of them from his play 'Il pastor
fido', which was very popular at the
Mantuan court around 1600. Stylistically
they are more connected to the madrigals
written in the last decades of the 16th
century than to those of the early 17th
century, by the likes of Monteverdi.
And although this book contains a part
for basso continuo, it is not indispensable,
as is shown by the fact that several
madrigals are performed here with voices
only.
It is difficult for
those who don't know Italian to hear
in what way Rossi sets words to music,
since the booklet doesn't contain a
translation of the lyrics. But even
so it is possible to enjoy these madrigals,
and in some cases the illustration of
the text is obvious, like the serenity
at the beginning of 'Dolcemente dormiva
la mia Clori' or the grievous setting
of the first lines of 'Ah dolente partita'.
In addition to the
book of four-part madrigals the ensemble
has recorded six arias from the first
book of five-part madrigals of 1600.
These pieces could be performed either
with five voices or with solo voice
and basso continuo, which is how they
are recorded here. This alternative
scorings are an indication that these
airs are not full-blown monodies, which
were in vogue in the first decades of
the 17th century. In comparison with
monodies these airs are less dramatic
and also less adventurous in regard
to harmony. Five of them are again on
texts by Guarini.
The ensemble is giving
a fine performance of these madrigals
and does them full justice. The singers
all have excellent voices, which blend
very well. The instruments give modest
support in the four-part madrigals,
but a more elaborate role in the solo
pieces. These are performed well, but
the soprano and the tenor are a little
too bland and careful, for example in
regard to dynamics and ornamentation.
The contralto is the most expressive
of the three. The disc ends with a madrigal
sung by eight voices. I don't understand
the reasons for this, but it is quite
beautifully sung and provides a pleasing
final chord.
I have really enjoyed
this recording, which I also find interesting
from a historical point of view. It's
a shame, though, that the lyrics are
not translated. And a duration of 46
minutes is hardly acceptable for a full-price
disc.
Johan van Veen
Ut Musica Poësis Ensemble: 
for
details
