{"id":6702,"date":"2026-10-27T14:06:42","date_gmt":"2026-10-27T14:06:42","guid":{"rendered":"https:\/\/accademiaclub.com\/album\/le-lacrime-di-eros-2-2\/"},"modified":"2026-10-27T14:06:42","modified_gmt":"2026-10-27T14:06:42","slug":"le-lacrime-di-eros-2","status":"publish","type":"album","link":"https:\/\/accademiaclub.com\/en\/album\/le-lacrime-di-eros-2\/","title":{"rendered":"Le Lacrime di Eros"},"content":{"rendered":"

This content is exclusive to Accademia Club members.<\/p>Become a member<\/a>

Already a member? Log in<\/a><\/p><\/div>\n\n\n\n

In the many Greek versions of the myth of Eros, he is always the mediator between desire and its object; he is winged because he carries us from the idea to its fulfilment. But that journey is never easy. Eros\u2019s own lover, Psyche, is forced by Aphrodite to perform superhuman tasks to win back her beloved; Zeus has to turn himself into an animal to gain the favours of playful Leda. This was, for ever, the sentence passed on those who desire, on lovers, on those who yearn: their delight will be in proportion to the delay, and, at the extreme, despair will sublimate the unattainable: there is nothing more beautiful than what I have never had, nothing more beloved than what I lost<\/em>. The greatest delight, sex, will be covered by the veil of the forbidden, except in fleeting and sacred moments of abandon, of ecstasy.<\/p>\n\n\n\n

It is no surprise that this blend of pain and pleasure appealed to early 17th-century Italy, exuberant and repressed, splendid yet decadent. In the Counter-Reformation Catholic imagination there is no enjoyment without guilt, no pleasure without punishment: Love can only be reached as the reward for the soul\u2019s torment; its sweetness grows with the bitterness of the suffering that precedes it. Carnal love is a forbidden, hidden drug, and that makes it mysterious and endlessly delightful. We will taste it in every possible flavour: delicious in Landi, sorrowful in Bovicelli, joyful in Frescobaldi, desperately hopeful in Monteverdi, morbidly erotic in the Magdalene at the foot of the cross. Only Marini will ask Cupid for a truce from our own desire.<\/p>\n\n\n\n

Juan Ram\u00f3n Lara<\/p>\n\n\n

\"\"<\/figure>\n\n\n
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Fahmi Alqhai \u2014 <\/strong>violino da gamba, viola da gamba & direction
<\/em>Mariv\u00ed Blasco \u2014 <\/strong><\/strong>soprano
<\/em>Juan Sancho \u2014 <\/strong>tenor
<\/em>Rami Alqhai \u2014 <\/strong>viola da gamba
<\/em>Vicente Parrilla \u2014 <\/strong>recorder
<\/em>Rams\u00e9s Puente \u2014 <\/strong><\/strong>violin
<\/em>Irene G\u00f3mez \u2014 <\/strong><\/strong>viola da gamba<\/em>
Juan Ram\u00f3n Lara \u2014 <\/strong><\/strong>violone<\/em>
B\u00e1rbara Sela \u2014 <\/strong><\/strong>dulcian<\/em>
Miguel Rinc\u00f3n \u2014 <\/strong><\/strong>theorbo<\/em> & baroque guitar<\/em>
Enrike Solin\u00eds \u2014 <\/strong><\/strong>archlute & baroque guitar<\/em>
Alberto Mart\u00ednez Molina \u2014 <\/strong><\/strong>harpsichord<\/em>
\u00c1lvaro Garrido \u2014 <\/strong><\/strong>percussion<\/em>

Recording and editing: Sputnik (Jordi Gil)<\/p>\n\n\n\n

<\/p>\n<\/div><\/div><\/div>\n\n\n\n

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Amanti io vi so dire<\/strong><\/p>\n\n\n\n

Benedetto Ferrari (1597-1681)<\/p>\n\n\n\n

Sonata sopra l\u2019aria di Tordiglione<\/strong><\/p>\n\n\n\n

Salamone Rossi (c. 1570-1630)<\/p>\n\n\n\n

Gioite, o selve, o venti<\/strong><\/p>\n\n\n\n

Girolamo Frescobaldi (1583-1643)<\/p>\n\n\n\n

Damigella tutta bella<\/strong><\/p>\n\n\n\n

Stefano Landi (1590-1639)<\/p>\n\n\n\n

Liquide perle Amor<\/strong><\/p>\n\n\n\n

Luca Marenzio (1553-1599)<\/p>\n\n\n\n

Liquide perle Amor<\/strong><\/p>\n\n\n\n

Vicente Parrilla \/ Luca Marenzio <\/p>\n\n\n\n

Tocata per B quadro<\/strong><\/p>\n\n\n\n

Francesco Maria Bassani (1620-1622)<\/p>\n\n\n\n

Ancor che co\u00b4l partire<\/strong><\/p>\n\n\n\n

Richardo Rogniono (c. 1555-1620) \/ Cipriano de Rore<\/p>\n\n\n\n

Io son ferito ahi lasso<\/strong><\/p>\n\n\n\n

Giovanni Battista Bovicelli (fl. 1594) \/ Giovanni Pierluigi da Palestrina<\/p>\n\n\n\n

Sinfonia Grave<\/strong><\/p>\n\n\n\n

Salamone Rossi (c. 1570-1630)<\/p>\n\n\n\n

A<\/strong> pie della gran croce<\/strong><\/p>\n\n\n\n

Girolamo Frescobaldi (1583-1643)<\/p>\n\n\n\n

Sonata V<\/strong><\/p>\n\n\n\n

Salamone Rossi (c. 1570-1630)<\/p>\n\n\n\n

Novello Cupido<\/strong><\/p>\n\n\n\n

Biagio Marini (c. 1597-1665)<\/p>\n\n\n\n

Improvisation on the Ciaccona<\/strong><\/p>\n\n\n\n

Instrumentation and glosas: Fahmi Alqhai
<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n

Track notes <\/h2><\/div>\n\n\n\n
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1. Amanti io vi so dire<\/h4><\/div>\n\n\n\n
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Hear me well, lovers:
it is better to escape
\u2013 be she cruel or kind \u2013
from the beautiful woman,
by any road at all.
For to die of love is folly.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Amanti io vi so dire<\/em><\/p>\n\n\n\n

ch’\u00e8 meglio assai fuggire<\/em><\/p>\n\n\n\n

bella donna vezzosa<\/em><\/p>\n\n\n\n

o sia cruda o pietosa<\/em><\/p>\n\n\n\n

ad ogni modo e via<\/em><\/p>\n\n\n\n

il morir per amor \u00e8 una pazzia<\/em><\/p>\n\n\n\n

Non accade pensare<\/em><\/p>\n\n\n\n

di gioir in amare<\/em><\/p>\n\n\n\n

amoroso contento<\/em><\/p>\n\n\n\n

dedicato \u00e8 al momento<\/em><\/p>\n\n\n\n

e bella donna al fine<\/em><\/p>\n\n\n\n

rose non dona mai senza le spine<\/em><\/p>\n\n\n\n

La speme del gioire<\/em><\/p>\n\n\n\n

fondata \u00e8 sul martire<\/em><\/p>\n\n\n\n

bellezza e cortesia<\/em><\/p>\n\n\n\n

non stanno in compagnia<\/em><\/p>\n\n\n\n

so ben dir con mio danno<\/em><\/p>\n\n\n\n

che la morte ed amor insieme vanno<\/em><\/p>\n\n\n\n

Vi vuol pianti a diluvi<\/em><\/p>\n\n\n\n

per spegner i vesuvi<\/em><\/p>\n\n\n\n

d’un cor innamorato<\/em><\/p>\n\n\n\n

d’un spirto infiammato<\/em><\/p>\n\n\n\n

pria che si giunga in porto<\/em><\/p>\n\n\n\n

quante volte si dice ohim\u00e9 son morto<\/em><\/p>\n\n\n\n

Credetel a costui<\/em><\/p>\n\n\n\n

che per prova pu\u00f2 dir<\/em><\/p>\n\n\n\n

io vidi io fui<\/em><\/p>\n\n\n\n

se credere no’l volete<\/em><\/p>\n\n\n\n

lasciate star che poco importa a me<\/em><\/p>\n\n\n\n

seguitate ad amar<\/em><\/p>\n\n\n\n

ad ogni modo chi d\u00e9 rompersi il collo<\/em><\/p>\n\n\n\n

non accade che schivi ad erta o fondo<\/em><\/p>\n\n\n\n

che per proverbio sentii sempre dire<\/em><\/p>\n\n\n\n

dal destinato non si pu\u00f2 fuggire<\/em><\/p>\n\n\n\n

Donna, so chi tu sei<\/em><\/p>\n\n\n\n

amor so i fatti miei<\/em><\/p>\n\n\n\n

non tresco pi\u00f9 con voi<\/em><\/p>\n\n\n\n

alla larga ambo i duoi<\/em><\/p>\n\n\n\n

s’ognun fosse com’io<\/em><\/p>\n\n\n\n

saria un balordo amor e non un… dio!<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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2. Sonata sopra l\u00b4aria di Tordiglione<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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The so-called sonatas on Italian arias are in fact variations on a basso ostinato<\/em>, or ground: a musical form that was extremely widespread in Seicento Italy and had been prefigured as early as 1553 in the Trattado de glosas<\/em> by Toledo-born Diego Ortiz.<\/p><\/div>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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3. Gioite o selve, o venti<\/h4><\/div>\n\n\n\n
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\n

To the woods and winds<\/p>\n\n\n\n

I give my joy.<\/p>\n\n\n\n

For my fair Chloris<\/p>\n\n\n\n

has gone from being my enemy to being my lover;<\/p>\n\n\n\n

and if Love is fleeting, she is constant.<\/p>\n\n\n\n

Gioite oh selve, oh venti<\/em><\/p>\n\n\n\n

a\u2019 miei contenti;<\/em><\/p>\n\n\n\n

la mia Cloride bella<\/em><\/p>\n\n\n\n

che gi\u00e0 f\u00f9 si rubella, \u00e9 fatta amante,<\/em><\/p>\n\n\n\n

e s\u2019 Amor\u2019\u00e8 leggiero, ella \u00e8 constante.<\/em><\/p>\n\n\n\n

Ridete oh Fonti, oh Prati<\/em><\/p>\n\n\n\n

ne\u2019 di gelati<\/em><\/p>\n\n\n\n

il mio dolce tesoro,<\/em><\/p>\n\n\n\n

che gi\u00e0 neg\u00f2 ristoro, al fin si rese,<\/em><\/p>\n\n\n\n

e s\u2019 Amor\u2019 \u00e8 crudele, egli \u00e8 cortese.<\/em><\/p>\n\n\n\n

Cantate oh Rivi, oh Fiori<\/em><\/p>\n\n\n\n

a miei ristori;<\/em><\/p>\n\n\n\n

il bell\u2019 Idolo mio<\/em><\/p>\n\n\n\n

arde com\u2019 ardo anch\u2019io, non gi\u00e0 per gioco,<\/em><\/p>\n\n\n\n

che s\u2019 Amore \u00e8 di gielo, egli \u00e8 di foco.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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4. Damigella tutta bella<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
\n

Lovely girl, that dew<\/p>\n\n\n\n

distilled from the ruby,<\/p>\n\n\n\n

give it to me, for good wine<\/p>\n\n\n\n

was born for me.<\/p>\n\n\n\n

Damigella<\/em><\/p>\n\n\n\n

tutta bella<\/em><\/p>\n\n\n\n

versa quel buon vino<\/em><\/p>\n\n\n\n

fa che cada<\/em><\/p>\n\n\n\n

la ruggiada<\/em><\/p>\n\n\n\n

distillata di Rubino.<\/em><\/p>\n\n\n\n

Damigella<\/em><\/p>\n\n\n\n

tutta bella<\/em><\/p>\n\n\n\n

di quel vin tu non mi satii,<\/em><\/p>\n\n\n\n

fa che cada<\/em><\/p>\n\n\n\n

la ruggiada<\/em><\/p>\n\n\n\n

distillata di Topatii.<\/em><\/p>\n\n\n\n

Deh dispensa<\/em><\/p>\n\n\n\n

s\u00f9 la mensa<\/em><\/p>\n\n\n\n

che ci fa si lieta herbetta.<\/em><\/p>\n\n\n\n

Damigella<\/em><\/p>\n\n\n\n

tutta bella<\/em><\/p>\n\n\n\n

di quel vin che pi\u00fa diletta.<\/em><\/p>\n\n\n\n

Di mia diva<\/em><\/p>\n\n\n\n

se si feriva<\/em><\/p>\n\n\n\n

il bel nome con sei note,<\/em><\/p>\n\n\n\n

hor per questo<\/em><\/p>\n\n\n\n

io m\u2019appresto<\/em><\/p>\n\n\n\n

a lasciar sei coppe vote.<\/em><\/p>\n\n\n\n

Ma s\u2019io soglio,<\/em><\/p>\n\n\n\n

nel cordoglio,<\/em><\/p>\n\n\n\n

sempre dir del tuo bel vanto<\/em><\/p>\n\n\n\n

maggiormente<\/em><\/p>\n\n\n\n

al presente<\/em><\/p>\n\n\n\n

n\u2019hoda dir, che rido e canto.<\/em><\/p>\n\n\n\n

Son ben degni,<\/em><\/p>\n\n\n\n

ch\u2019io m\u2019ingegni,<\/em><\/p>\n\n\n\n

quei begl\u2019 occhi ad honorarli.<\/em><\/p>\n\n\n\n

Son ben degni,<\/em><\/p>\n\n\n\n

ch\u2019io m\u2019 ingegni,<\/em><\/p>\n\n\n\n

quei bei risi a celebrarli.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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5. Liquide perle Amor<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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To cool my fire, Love sheds<\/p>\n\n\n\n

pearls from his eyes.<\/p>\n\n\n\n

But with a greater fire<\/p>\n\n\n\n

my heart is inflamed.<\/p>\n\n\n\n

When all it took<\/p>\n\n\n\n

to kill me was the first flame.<\/p>\n\n\n\n

Liquide perle Amor da gl’occhi sparse<\/em><\/p>\n\n\n\n

in premio del mio ardore;<\/em><\/p>\n\n\n\n

ma lass\u2019ohim\u00e8 che\u2019l core<\/em><\/p>\n\n\n\n

di maggior foco m\u2019arse.<\/em><\/p>\n\n\n\n

Ahi, che bastava solo<\/em><\/p>\n\n\n\n

a darmi morte il primo ardente duolo.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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6. Liquide perle Amor<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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In the tradition of the 16th-century treatises on improvisation and diminution, Vicente Parrilla performs an ornamented version of Luca Marenzio\u2019s original madrigal.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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7. Tocata per B cuadro<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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A nephew of Orazio Bassani, Francesco Maria Bassani belonged to the Bassani family, which played a decisive role in spreading the viola da gamba across Europe. Bassani was known for his Lecciones de contrapunto<\/em>, and this toccata has the improvisatory style typical of the form.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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8. Ancor che co\u00b4l partire<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Richardo Rogniono, or Riccardo Rognoni, was one of the great masters of diminution: sophisticated written-out improvisations on works by other composers (much as jazz musicians today improvise on standards from the Real Book<\/em>). His version of the celebrated madrigal Ancor che co’l partire<\/em> is a sublime example of the genre, and is also superbly written for the viola da gamba.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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9. Io son ferito ahi lasso<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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I come sorely wounded.<\/p>\n\n\n\n

The one who strikes me<\/p>\n\n\n\n

is to blame, but<\/p>\n\n\n\n

I have no proof.<\/p>\n\n\n\n

Io son ferito, ahi lasso<\/em><\/p>\n\n\n\n

e chi mi diede<\/em><\/p>\n\n\n\n

accusar pur vorrei,<\/em><\/p>\n\n\n\n

ma non ho prova,<\/em><\/p>\n\n\n\n

e senza indizio al mal non si d\u00e0 fede:<\/em><\/p>\n\n\n\n

n\u00e8 getta sangue la mia piaga nova.<\/em><\/p>\n\n\n\n

Io spasmo e moro;<\/em><\/p>\n\n\n\n

il colpo non si vede.<\/em><\/p>\n\n\n\n

La mia nemica armata si ritrova.<\/em><\/p>\n\n\n\n

Che fia tornar a lei, crudel partito,<\/em><\/p>\n\n\n\n

che sol m\u2019abbia a sanar chi m\u2019ha ferito.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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10. Sinfonia grave <\/h4><\/div>\n\n\n\n
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Salamone Rossi \u201cEbreo\u201d was a celebrated Jewish violinist and composer who served as a maestro at the court of Mantua alongside composers of the calibre of Monteverdi and Wert. He left an important body of instrumental music, as well as vocal works and even liturgical music in Hebrew.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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11. A pie della gran croce<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Magdalene at the Foot of the Cross<\/p>\n\n\n\n

At the foot of the great Cross where, his life<\/p>\n\n\n\n

ebbing away, Christ was entering his agony,<\/p>\n\n\n\n

his lover could be heard, her hair dishevelled,<\/p>\n\n\n\n

weeping, his faithful beloved suffering there.<\/p>\n\n\n\n

Maddalena alla Croce<\/em><\/p>\n\n\n\n

A pi\u00e8 della gran Croce in cui languiva<\/em><\/p>\n\n\n\n

vicino a morte il buon Gies\u00f9 spirante,<\/em><\/p>\n\n\n\n

scapigliata cos\u00ec pianger s\u2019udiva<\/em><\/p>\n\n\n\n

la sua fedele addolorata amante,<\/em><\/p>\n\n\n\n

e dell<\/em>\u0081<\/em>‘humor, che da’begli occhi usciva,<\/em><\/p>\n\n\n\n

e dell\u2019or della chioma ondosa errante<\/em><\/p>\n\n\n\n

non mand\u00f2 mai da che la vita \u00e8 vita<\/em><\/p>\n\n\n\n

perle, od oro pi\u00f9 bel l\u2019India o l\u2019Atlante.<\/em><\/p>\n\n\n\n

Come far, (dicea) lassa o Signor mio,<\/em><\/p>\n\n\n\n

puoi senza me quest\u2019ultima partita?<\/em><\/p>\n\n\n\n

come, morendo tu, viver poss\u2019io?<\/em><\/p>\n\n\n\n

Che se morir pur vuoi; l\u2019anima unita<\/em><\/p>\n\n\n\n

ho teco (il sai mio Redentor, mio Dio)<\/em><\/p>\n\n\n\n

per\u00f2 teco haver deggio e morte e vita.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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12. Sonata V<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
\n

Salamone Rossi \u201cEbreo\u201d was a celebrated Jewish violinist and composer who served as a maestro at the court of Mantua alongside composers of the calibre of Monteverdi and Wert. He left an important body of instrumental music, as well as vocal works and even liturgical music in Hebrew.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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13. Novello Cupido<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Little Cupid:<\/p>\n\n\n\n

you look like a child,<\/p>\n\n\n\n

your eyes shoot<\/p>\n\n\n\n

a thousand cruel darts<\/p>\n\n\n\n

and my heart<\/p>\n\n\n\n

you smash to pieces.<\/p>\n\n\n\n

Novello Cupido<\/em><\/p>\n\n\n\n

fanciul ti cred’io<\/em><\/p>\n\n\n\n

che dardi pungenti<\/em><\/p>\n\n\n\n

negli occhi tu porti<\/em><\/p>\n\n\n\n

e dai mille morti<\/em><\/p>\n\n\n\n

ogn’or al cor mio.<\/em><\/p>\n\n\n\n

Qual nova sirena<\/em><\/p>\n\n\n\n

mill’alme incatena<\/em><\/p>\n\n\n\n

col canto e col guardo<\/em><\/p>\n\n\n\n

ben puote col dardo<\/em><\/p>\n\n\n\n

ferir il cor mio.<\/em><\/p>\n\n\n\n

Novello Cupido<\/em><\/p>\n\n\n\n

fanciul ti cred’io.<\/em><\/p>\n\n\n\n

Deh quando mai pace<\/em><\/p>\n\n\n\n

avran quelle luci<\/em><\/p>\n\n\n\n

se con la tua face<\/em><\/p>\n\n\n\n

che fere che fende<\/em><\/p>\n\n\n\n

che strugge che incende<\/em><\/p>\n\n\n\n

la morte m’adduci.<\/em><\/p>\n\n\n\n

Deh volgi lo sguardo,<\/em><\/p>\n\n\n\n

ritieni il tuo dardo<\/em><\/p>\n\n\n\n

che se non sei nudo<\/em><\/p>\n\n\n\n

sei ben fero e crudo<\/em><\/p>\n\n\n\n

ogn’or al cor mio.<\/em><\/p>\n\n\n\n

Novello Cupido<\/em><\/p>\n\n\n\n

fanciul ti cred’io.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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14. Improvisation on the Ciaccona<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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In the manner of Rossi and other composers of \u201csonatas on Italian arias\u201d, or variations on a basso ostinato<\/em>, we improvise on one of the most famous basses of the period: that of the ciaccona.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n","protected":false},"excerpt":{"rendered":"

Inspired by Georges Bataille\u2019s book of the same name, Accademia del Piacere\u2019s debut CD (winner of the Prelude Award in the Netherlands) explores the relationship between love and pain in Italian music of the Seicento, a central theme at that thrilling moment that saw the birth of opera and of what we now call Baroque music<\/p>\n","protected":false},"featured_media":725,"parent":0,"template":"","estilo":[],"class_list":["post-6702","album","type-album","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/album\/6702","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/album"}],"about":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/types\/album"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media\/725"}],"wp:attachment":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media?parent=6702"}],"wp:term":[{"taxonomy":"estilo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/estilo?post=6702"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}