This album contains a collection of works from the Seicento, most of them well known, although it also includes a composition (Cazzati's La Verità sprezzata) that is little or not very often heard. Since the foundation of Los Músicos de Su Alteza, we have devoted a substantial part of our work to the performance of 17th century music, often unpublished and forgotten since that time. Consequently, the vanitas argument has recurrently formed part of our programs; and it would not be unreasonable to say that every early music project is an exercise in vanitas. The subject of this disc is truth, but vanitas has inevitably crept into it. All the vocal works on this recording offer, in their own way, partial glimpses of the truth. The truth, or rather, the truths revealed by these compositions are not always flattering. On the contrary, they are truths that hurt, truths like fists that strike those who suffer the immediate consequences of their knowledge, or those who know in advance the terrible sufferings they will endure in the future. The allegory of Truth itself is also shown transformed into a suffering person. Thus, truth and disillusionment seem inextricably linked.
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This album contains a collection of works from the Seicento, most of them well known, although it also includes a composition (Cazzati's La Verità sprezzata) that is little or not very often heard. Since the foundation of Los Músicos de Su Alteza, we have devoted a substantial part of our work to the performance of 17th century music, often unpublished and forgotten since that time. Consequently, the vanitas argument has recurrently formed part of our programs; and it would not be unreasonable to say that every early music project is an exercise in vanitas. The subject of this disc is truth, but vanitas has inevitably crept into it. All the vocal works on this recording offer, in their own way, partial glimpses of the truth. The truth, or rather, the truths revealed by these compositions are not always flattering. On the contrary, they are truths that hurt, truths like fists that strike those who suffer the immediate consequences of their knowledge, or those who know in advance the terrible sufferings they will endure in the future. The allegory of Truth itself is also shown transformed into a suffering person. Thus, truth and disillusionment seem inextricably linked.
