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CAMERATA MEDIOLANENSE
THE music of Camerata Mediolanense certainly falls within the Gothic genre, but the group brings to bear an obvious interest in, and talent for, the performance of medieval and early classical music. Camerata Mediolanense takes its title from Mediolanum, the ancient name for Milan, a city which provides the group's historical and cultural anchor-point. MUSICA RESERVATATheir first CD, Musica Reservata (1994 MY CASTLE 01 CD), begins with the powerful and dramatic 'Il Lupo' (The Wolf) which sounds like a medieval anthem or march. It is very strong in both melody and percussion, the synthesis of which is central to the group's musical character. Other tracks have a more baroque flavour, and the CD concludes with a toccata by Leonardo Leo (1694-1744). The lyrics are inspired by the legends and pagan traditions of Northern Italy, and all the music (except for the toccata) is written by group member, Elena Previdi. Providing vocals on three of the tracks is Francesca Nicoli of Ataraxia. CAMPO DI MARTEThe group's second CD, Campo di Marte (Field of Mars), is devoted to the theme of war. 'Fuoco' (Fire) provides an impressive neoclassical opening overlaid with a very immediate-sounding trumpet and drum, while the words strike an heroic note with an archaic, poetic quality. 'Alta Guardia' (track 2) and 'Balcani in Fiamme' (track 7) are instrumentals. The former is a strongly percussive rallying call with an epic neoclassical background. The beginning of the latter has an aggressive percussive opening with an ominous import, and this gives way to a brassy quality that reminded me of Spanish bullfight music and seemed to convey a gladitorial quality. When I first published this interpretation, Elena described it as "unusual, but interesting" from which you can draw your own conclusions. (There may, however, be an influence from Morricone). An earlier, version of this track appeared on Onore Alle Arti (MY CASTLE 1996), a compilation CD of European 'dark-folk' bands released by the group's own recording label, My Castle. (The latter had the subtitle of 'April 1941', while the version on Campo di Marte was supposed to have the subtitle '50 years later', but it got left off the CD booklet accidentally. I bequeath this specialist inside knowledge to trainspotters everywhere.) 'La Magnifica Aurora' (track 3) also sounds Spanish to me but that no doubt reflects my ignorance of Spanish as well as Italian music! The fourth track, 'Guerriero' (Warrior), also has an heroic theme, while 'Rappresentazione' (track 5) appears to convey the image of a female figure of battle rather like The Morrigan. The sixth track, 'La Veritą Nascosta' (The Hidden Truth), has haunting, operatic, vocals accompanied by a harpsichord. 'La Sospesa' (track 8) has female vocals and a soft, dreamy and nostalgic quality. The meaning is obscure but seems to contrast two concepts of power. The English translation provided for the Italian virtł is simply 'virtue', although I suspect it has here the sense in which Machiavelli employed it. The words of the last track, 'Il Trionfo di Bacco e Arianna', are borrowed from the poem by the Renaissance prince, Lorenzo the Magnificent. A bacchanalian hymn to youth, beauty and wine, it brings the album to a rousing conclusion reminiscent of the triumphal opening to their first album: viva Bacco! e viva Amore! If Europe ever needs an anthem - other than Ode to Joy - Camerata Mediolanense should be commissioned to provide it! Rik - 20 February 1997
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