Suave Voces / The Europe of Madrigal

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1. Claudio Monteverdi: Ecco mormorar l’onde
2. John Wilbye: Lady, when I behold the roses sprouting
3. Heinrich Schütz: Ride the primavera
4. Giaches de Wert: Tirsi Morir Volea
5. Thomas Morley: Philis, I fain would die now
6. Leonard Lechner: O Lieb, wie suss and bitter
7. Luca Marenzio: Ahi dispietata morte, ahi crudel vita
8. John Dowland: Would my conceit that first enforced my woe
9. Thomas Weelkes: O care, thou wilt despatch me
10. Giulio Caccini: Amarilli mia bella
11. John Wilbye: Farewell, sweet Amaryllis
12. Johann Hermann Schein: O Amarilli zart
13. (Unknown): Vier Hirtinnen gleich jung, gleich beautiful
14. (Unknown): Cara Germania mia, quanto ti peggio

Ensemble Voces Suaves

The madrigal, a polyphonic genre that is essentially vocal, participated in the birth of opera and baroque music. Very present and popular in Italy – around Claudio Monteverdi (1567-1643), a true master of the genre, German composers who came to study there, such as Leonhard Lechner (1553-1606) or Heinrich Schütz (1585-1672), adopted it and published madrigals in Germany upon their return. England was also seduced by the madrigal, initially by adapting Italian works into English in order to be sung by the greatest number, then by composing madrigals in English. Thomas Morley (ca.1557-1602) and John Dowland (1563-1626) is among the finest representatives of these British composers who were seduced by the genre. This afternoon, in the great abbey church of Ambronay, the eight singers of the Ensemble Voces Suaves share the passion of madrigal, to which they devote themselves, in a program showing its evolutions over the course of its migrations in Germany and England. They perform the oldest madrigals a cappella and the most recent ones with the accompaniment of the lutenist Ori Harmelin.