The idea of uniting two brief works so that each is the complement of the other is not only an alternative to an otherwise “pedantic presentation”; it strives above all to be a “tribute” to the element of variety evoked earlier.
The interaction between the two collections offers a wide array of music which varies in both form and content, but is homogeneous in style and intent.
The juxtaposition underscores the versatility of a composer who takes pleasure in passing easily from cultivated to popular styles and tastes.
Yet his music never lacks in original solutions or friendly references, all of which he exploits to exemplify his considered reasoning, as set down in the Cartella.
In keeping with this same attention to historical authenticity, this program precedes the metamorphosis of Marenzio’s madrigal (from which Banchieri’s secular collection takes its name) with a passage from a “serious” variation of the same madrigal: a version for lute in tablature of Liquide perle, composed by the lutenist Giovanni Antonio Terzi of Bergamo, who published two books of arias in tablature at the end of the 16th century.
The readings of the verses by Tasso over the version by Terzi is completed by an excerpt (for voice and instruments) of the original madrigal by Luca Marenzio.
The parody pronounced by the doctor is read instead over the metamorphosis by Banchieri, played on the lute after a vocal and instrumental introduction.
The interpretation of the numerous dialogues (sung by a single singer using different vocal timbres according to the character impersonated) has helped to evoke the personages from the commedia dell’arte and thus reproduce the stereotypes of the original masked comedy.
Albeit in total respect for historical performance practice, the original material leaves a great deal of room for “experimentation”, both in entrusting the text to a single singer and in the careful search for appropriate timbres, as reflected in the choice of instrumentation.
Following the indications of the author in his notes to La Prudenza Giovenile, a voice reads the introductory verses of every scene “accompanied by the grace of the musicians who concertize a pleasant melody of their choosing.”


Disco n.1
Banchieri, Adriano
Gemelli armonici
  1 - Prologue: Su rallegrate i cuori (1:33)
  2 - Primo trattenimento: Passo a mezzo con il liuto (0:42)
  3 - Part I: Primo discorso: Non più parol (Mich, Stef) (1:34)
  4 - Part I: Primo discorso: Sinfonia: Viri sancti - In convertendo Dominus - Vox dilecti mei - Sinfonia: Adversum me (7:34)
  5 - Part I: Secondo discorso: Flavia gentile, adio! (Liv, Fla) (2:05)
  6 - Part I: Terzo discorso: Vien zoso, Trappolin (Stef, Traf) (1:57)
  7 - Part I: Quarto discorso: Ninetta, bella Nitetta (Stef, Nin) (2:03)
  8 - Secondo trattenimento: Villotta alla contadinesca nel chitarrino (1:18)
  9 - Hora tertia: Sinfonia: Domine audivi - Pastires ad pastores inquirebant - Haec loquutus sume vobis at cum venerit - Ibant Apostoli a conspectu concilii - Sinfonia: Domine Dominu noster (9:08)
  10 - Part II: Primo discorso: Ahime, come faro? (Flo) (2:15)
  11 - Part II: Secondo discorso: Ascolta Pedrolin (Stef, Ped) (2:10)
  12 - Part II: Terzo discorso: Bondi, sposo dolcissimo (Stef, Ped, Mich) (1:28)
  13 - Hora sexta: Sinfonia: Equitatui meo - Bonum mihi Domie - Misericordias Domini - Qui vult venire post (7:49)
  14 - Part II: Quarto discorso: Tic toc! Signora Laura (Zan, Lau) (2:24)
  15 - Hora nona: Sinfonia: Exaude Domine orationem - Sancta Cecilia Virgo - O, Vere digan Ostia - O qual pulchra (7:14)
Il metamorfosi musicale
  16 - Il metamorfosi musicale: Liquide perle Amor dagli occhi sparse (2:45)
Gemelli armonici
  17 - Part II: Quinto discorso: Liquide per l’amor ranocchie sparse (Stef, Ped) (3:11)
  18 - Part II: Sesto discorso: Deh, Laura, che farai (Lau) (2:46)
  19 - Vesperae: Sinfonia: Beati omnes - Deus canticum novum - Isti sunt triumphatores qui viventes - Estote fortes in bello (6:36)
  20 - Terzo trattinimento: Non e esercizio in Terra (Mascherrata di Soldati) (1:07)
  21 - Part III: Primo discorso: Ahime! chi miro? (Lau, Flo) (2:58)
  22 - Part III: Secondo discorso: Fate festa e allegrezza! (Flo, Liv, Ped) (1:45)
  23 - Licenza: Pedrolino con un spassevole ballet - Quel che balla senza son o l'e matto o l'e buffon (Ped) (1:13)
  • Performers: Ensemble Hypothesis: Leopoldo d’Agostino, archive research, scores elaboration, art director, flutes · Bertrand Dazin, voice countertenor and bariton · Silvia Cossaro, Paolo Serra, narrators · Cinzia Zotti, soprano and viola da gamba · Gioele Gusberti, cellos · Ugo Nastrucci, theorbo, lute, guitar · Carole Parer, organ piccolo, spinetta · Donato Sansone, percussions
  • Historical Period: Humanism and Renaissance
  • Code: TC 560204
  • Edition: December 2009
  • Barcode: 8007194104493
  • Set: 1
  • Total tracks: 23
  • Total duration: 01:13:23

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