Bruce Dickey, Alberto Rasi, Maria Christina Cleary, Liuwe Tamminga

The early decades of the Baroque era were when virtuoso instruments such as the cornett first came into their own, yet much of their music was based on existing vocal models. Bruce Dickey, widely acknowledged as the world’s greatest exponent of the instrument thought to have the closest resemblance to the human voice, demonstrates how the cool sounds of the Renaissance were transformed into a rich new species of instrumental eloquence, in works by Gabrieli, Palestrina, Luzzaschi, Bassano and others.

Gabrieli – Canzon II a 4
Guami – La Novellina (from Canzonette francese)
Palestrina – Dilectus meus ornamented by Bruce Dickey
Prez – Mille Regretz ornamented by Bruce Dickey after Sylvestro Ganassi and Giovanni Bassano
Guami – La Guamina (from Canzonette francese)
Guami – L’Armoniosa (from Canzonette francese)
Brunelli – O quam suavis est Domine spiritus tuus (from Parte prima delli fioretti spirituali, Op.15)
Palestrina – Nigra sum a 5 ornamented by Bruce Dickey
Rossi – Toccata I (from Toccate e correnti)
Luzzaschi – O primavera (from Madrigali … per cantare et sonare a uno, e doi, e tre soprani)
Rore – Anchor che col partire (from Madrigali a 4 voci, Libro 1) ornamented by Angelo Notari (from a manuscript in the British Library)
Barbarino – Per fulgeat (from Il secondo libro delli motetti … da cantarsi a una voce sola)
Guami – La Brillantina (from Canzonette francese)