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Velut Luna


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Music inspired by the birds singing between the 17th and 18th centuries (CVLD361)

Mario FOLENA, traversiere, flauto d’amore
Roberto LOREGGIAN, cembalo
Francesco GALLIGIONI, violoncello, viola da gamba

  • 1. Georg Philipp Telemann (1694 - 1772)
Aria “Flieg hin flieg hin” e Minuetto per cembalo e violoncello - 01:39
  • 2. Louis-Claude Daquin (1694 - 1772)
“Le Coucou” per traversiere1 e cembalo - 02:13
  • 3. Michel Corrette (1707 - 1795)
“Le Coucou” per flauto d’amore in la e basso continuo (vlc e cembalo) 02:06
  • 4. Anonimo italiano (XVII sec.)
“Capriccio fatto sopra il Cucchù” per cembalo - 04:17
  • 5. Antoine Dornel (1691 - 1765)
“L’hirondelle” per traversiere2 e basso continuo (vla da g. e cembalo) - 03:14
  • 6. Louis-Claude Daquin (1694 - 1772)
“L’hirondelle” per cembalo - 03:16
  • 7. Françoise Philidor (1689 - 1717)
“L’hirondelle” per traversiere2 e basso continuo (vla da g. e cembalo) - 01:07
  • 8. Baldassare Galuppi (1706 - 1785)
Dall’opera “Sirbace“ “Qual colomba afflitta” per traversiere1e basso continuo - 03:33
  • 9. Antonio Vivaldi (1678 - 1741)
Dalla Cantata RV 659 “Indarno cerca la Tortorella” per flauto d’amore in la b e basso continuo (vlc e cembalo) - 03:41
  • 10. Georg Friedrich Händel (1685 - 1759)
Dall’opera Acis e Galateac“As when the dove laments” per traversiere1 e basso continuo (vlc e cembalo) - 03:43
  • 11. Johann Heinrich Schmelzer (1623 ca. - 1680)
“La gallina” per traversiere2 e basso continuo (vlc e cembalo) - 02:47
  • 12. Alessandro Poglietti (? - 1683)
“Il gallo e la gallina” per cembalo - 05:06
  • 13. Anonimo del XVIII secolo
Da “The Delightful Pocket Companion for the Flute” Londra: Robert Bremnen, senza data “Polonese” per flauto d’amore in la - 03:14
  • 14. Jean-Baptiste de Bousset - Jacques Hotteterre (1662 - 1725) (1680 ca - 1761 ca)
Aria: “Pourquoy, doux rossignol” per traversiere2 e basso continuo (vla da g. e cembalo) - 02:49
  • 15. Antonio Vivaldi (1678 - 1741)
Dalla Cantata RV 796 “Usignoletto bello” per traversiere1 e basso continuo (vlc e cembalo) - 03:04
  • 16. Francesco Bartolomeo Conti (1681 - 1732)
Aria: “L’augellin trà verdi fronde” per traversiere1 e basso continuo (vlc e cembalo) - 02:54
  • 17. Alessandro Speranza (1728 - 1797)
“Divertimento per cembalo in cui si esprime una Uccellaja” per cembalo - 04:13
  • 18. Joseph Bodin de Boismortier (1689 - 1755)
“Ramage” per flauto d’amore in la - 04:03
  • 19. Jacques-Christophe Naudot (1690 ca. - 1762)
“Chant d’oiseaux” per traversiere1, violoncello e basso continuo - 03:34
  • 20. Antonio Vivaldi (1678 - 1741)
Cantabile dal concerto op. X n. 6 “Il Gardellino” per traversiere1 e basso continuo (vlc e cembalo) - 03:11

 Total Time - 63:55

  • Traversiere 1 - Martin Wenner, copia da Carlo Palanca
  • Traversiere 2 - Federico Xiccato, copia da Chevalier
  • Flauto d’amore in la - Federico Xiccato, copia da Dejardin
  • Flauto d’amore in la b - Giovanni Tardino, copia da Giuseppe Panormo
  • Violoncello - Cremona, fine XVII sec.
  • Viola da gamba - Paolo Biordi, Ortimino, 2018 (da Michel Colichon, Paris, 1691)
  • Cembalo - Florindo Gazzola, copia da Anonimo italiano del XVII sec.
  • Digital / Analog recording made strictly live-in-studio at Main Hall, Villa Masiero e Centanin, Arquà Petrarca, Italy, on May 8, 9, 2023 - Analog Mix and mastering made at VL Studio, Naquera, Spain, on May 11, 12, 2023, using Rupert Neve Design Summing Mixing Console, Maselec MLA-2 / MEA-2 / MPL-2 and Studer A810
  • Production: Marco Lincetto and Massimo Corvino Consulting
  • Executive producer: Marco Lincettoo
  • Musical producer: Marco Lincetto
  • Balance, recording, mix and mastering engineer: Marco Lincetto
  • Editing: Matteo Costa
  • Photo: Musicians’Archive
  • Cover Graphics and layout: L’Imag


Celebrating the beauty and inspiration of birdsong is the aim of this anthology of 17th and 18th century
compositions dedicated to the voices of winged creatures. The CD takes its title from the Divertimento per cembalo in which it expresses a Uccellaja by Alessandro Speranza and includes 20 songs - selected with care - of the baroque and rococo era.

The first piece, previously unpublished page of G. Ph. Telemann, opens with two notes (re - si) that are repeated enunciating the call of the cuckoo. This incisive musical motto, able to carve itself in our auditory memory, introduces the following traces, dedicated in order to: cuckoo, swallow, dove and doves, roosters and hens, nightingale, various songbirds and goldfinches.

Between 17th and 18th century in the French instrumental suites (but also in the German ones) it was frequent to meet movements with a title with a specific programmatic intent. From these suites (composed by Daquin, Corrette, Philidor, Schmelzer, Boismortier and Naudot) are taken the songs dedicated to the singing of birds. Many Italian musicians, such as Poglietti and Speranza, were also inspired by the song of birds: three pages of great expressive power are presented for solo harpsichord by these authors and an Anonymous.

The aria of Galuppi Qual colomba afflitta has come to us only as an instrument. It is part of a ponderous
collection of opera arias, published in London in the mid 18th century by John Walsh, selected and transcribed for traversiere and basso continuo by Carlo Maria Broschi (1705-1782), the famous castrato said “The Farinelli”. At that time it was still common practice to perform vocal compositions - such as opera arias or cantatas, French brunettes or boat songs - in a simple instrumental role, as happened in the Renaissance era: a rooted traditional practice with which it was decided to also perform the arias Usignoletto bello by Vivaldi and L’augellin trà verdi fronde by Conti. Handel’s piece As when the dove laments belongs to a collection of transcriptions for traverser and harpsichord, published by J. Walsh in London.

Within this free form of performance there is also the aria Porquoy Doux rossignol by the composer Jean-Baptiste de Bousset (1662 - 1725), a very popular piece at the court of the Sun King. It is a magnificent aria that Jacques Hotteterre transcribed for traversiere and basso continuo, contributing to its fame and diffusion.

The Delightful Pocket Companion for the flute, from which is the Polonese by unknown author here performed on the flute of love, is a pocket handbook in several volumes published in London - without date - by Robert Bremnen. Inside are collected hundreds of original songs and transcripts intended for the numerous amateur flutists, increasingly greedy for repertoire for their instrument. The theme of this Polonese, Polish dance movement in three quarters, is the clucking of the hen, so much so that with a play of words could be renamed Pollonese.

The CD ends with the famous Cantabile from the concert Op. X n. 6 “Il Gardellino” by Antonio Vivaldi, whose pure and linear melody comes in this CD flowered, during the refrains, in the same capricious spirit of the song of Alessandro Speranza: and so, in addition to the typical harp call of the goldfinch, you can hear the imitation of a myriad of chirping birds, tribute to the greatness of Nature, with a blaze of notes and sounds that has the intent to transport us in a world of emotions and beauty.
Mario Folena



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