Lilia Campi a 2, 3, 4, 5 e 6 voci Libro quinto (1627)

cm 24 x 33,5, xxxiv-88 pp. con 2 tavv. n.t. Musiche rinascimentali siciliane 26 Lilia Campi, quinto libro di mottetti del compositore siciliano Domenico Campisi, fu stampato a Roma nel 1627 da Paolo Masotti. Le ventidue composizioni della raccolta, per un organico che varia da due a sei voci e basso continuo, per la prima volta edite in partitura e corredate da uno studio storico-critico di Maria Rosa De Luca, testimoniano uno stile compositivo ricco d?inventiva che coniuga gli artifici contrappuntistici, nel solco della tradizione dei polifonisti siciliani del Cinque-Seicento, con le propriet? espressive dello stile recitativo. Lilia Campi, the fifth book of motets by the Sicilian composer Domenico Campisi, was published in Rome in 1627 by Paolo Masotti. The twenty-two pieces included in the collection, created for a group going from two to six voices and a basso continuo, are published here for the first time with their scores, and a critical essay by Maria Rosa de Luca. They show a style of composition rich of inventions, which joins the contrapuntal elements typical of the Sicilian tradition of the XVIth and XVIIth century, with the expressive features of the recitative style.Lilia Campi, the fifth book of motets by the Sicilian composer Domenico Campisi, was published in Rome in 1627 by Paolo Masotti. The twenty-two pieces included in the collection, created for a group going from two to six voices and a basso continuo, are published here for the first time with their scores, and a critical essay by Maria Rosa de Luca. They show a style of composition rich of inventions, which joins the contrapuntal elements typical of the Sicilian tradition of the XVIth and XVIIth century, with the expressive features of the recitative style.Lilia Campi, the fifth book of motets by the Sicilian composer Domenico Campisi, was published in Rome in 1627 by Paolo Masotti. The twenty-two pieces included in the collection, created for a group going from two to six voices and a basso continuo, are published here for the first time with their scores, and a critical essay by Maria Rosa de Luca. They show a style of composition rich of inventions, which joins the contrapuntal elements typical of the Sicilian tradition of the XVIth and XVIIth century, with the expressive features of the recitative style.Lilia Campi, the fifth book of motets by the Sicilian composer Domenico Campisi, was published in Rome in 1627 by Paolo Masotti. The twenty-two pieces included in the collection, created for a group going from two to six voices and a basso continuo, are published here for the first time with their scores, and a critical essay by Maria Rosa de Luca. They show a style of composition rich of inventions, which joins the contrapuntal elements typical of the Sicilian tradition of the XVIth and XVIIth century, with the expressive features of the recitative style.Lilia Campi, the fifth book of motets by the Sicilian composer Domenico Campisi, was published in Rome in 1627 by Paolo Masotti. The twenty-two pieces included in the collection, created for a group going from two to six voices and a basso continuo, are published here for the first time with their scores, and a critical essay by Maria Rosa de Luca. They show a style of composition rich of inventions, which joins the contrapuntal elements typical of the Sicilian tradition of the XVIth and XVIIth century, with the expressive features of the recitative style.Lilia Campi, the fifth book of motets by the Sicilian composer Domenico Campisi, was published in Rome in 1627 by Paolo Masotti. The twenty-two pieces included in the collection, created for a group going from two to six voices and a basso continuo, are published here for the first time with their scores, and a critical essay by Maria Rosa de Luca. They show a style of composition rich of inventions, which joins the contrapuntal elements typical of the Sicilian tradition of the XVIth and XVIIth century, with the expressive features of the recitati