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Poi Che Voi Non Volete Sheet Music by Jan Pieterszoon Sweelinck

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For all that the musical flavor of Sweelinck's northern Dutch lacks the heat and shade of the better known Renaissance chanson, it is full of spice and piquancy. These characteristics add immensely to the reception which we accord it when paying attention to the development of musical and verbal lines — as opposed to being swept away by the whole palette of sound. Listen to the care, the precision and intricacy of Bouche de Coral 1 [CD.

The paradox and tension of desire sublimated are conveyed with never a hint at hyperbole. The overwhelming impression that's made is one of tremendous integrity within the idiom of the highly figurative and finely worked language. There were other Dutch madrigals, of course. The collections composed by Lassus are the most celebrated. Sweelinck's hold their own against those of Marenzio, Ferrabosco and their contemporaries.


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He was clearly fully aware of the idiom before the more extreme chromaticism of the Baroque changed the form for ever. Such madrigals as Chi vuol veder [CD. There is also joy in this area of Sweelinck's work… Hor che soave l'aura [CD. Again, the Gesualdo Consort Amsterdam has a completely solid, yet appropriately light-handed hold on the works: The Rimes in both Italian which are largely to unknown poets' work and French the texts are by Philippe Desportes, who lived from to and was thus a contemporary of Sweelinck seem to have been items which the composer considered almost as "diversions" to the weightier sacred works.

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They are in two and three voices. And, although it has been speculated that Sweelinck wrote these for teaching purposes, they are every bit as substantial and worthy of close attention as the rest of the music in this collection.

Poi che voi non volete ch'io vi baci by Gesualdo Consort Amsterdam on Amazon Music - xecykisypife.tk

Once more, the performers throw their all into conveying the essence of the words and music, which is melodious, original and full of originality. Although Sweelinck intended to suggest a lighter flavor for the Rimes , there is nothing slight about them. The blend of enthusiasm with passion tempered by a dignified gentility, as befits the genre, advocates powerfully for this neglected corpus of work. There is a penetrating and precise clarity to the singing of the Ensemble. Listen to their articulation in Garrula rondinella [CD.

Like weaving their way through a thicket of thorns. Their confidence could not be greater. Their sense of involvement never once falters.

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Yet they sing with a sensitivity to the style and substance of the Rimes which is both consistent and fresh. Technically, their mixture of svelte turns and slides, jumps and concentrations is matched by a sweetness of tone and articulation that aptly matches the shine and enthusiasm of the texts.


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Oddly, the final track on the third CD fades away. As a collection worth investigating in its own right, these three CDs have much to recommend them.