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New album, "Atalanta Fugiens", out on June 14th!

 CAMERATA MEDIOLANENSE are one of these extremely rare musical gems that are hard to categorise. The Italians defy all expectations and transcend the usual conventions about formats, style, and how to generally compose and perform music.
 With the sixth studio album "Atalanta Fugiens" ("Atalanta Fleeing"), CAMERATA MEDIOLANENSE return to what might be dubbed their 'classic style', which means a strong set of percussion from the rhythm section with light touches of the keyboards achieving a perfect balance with the soaring melodies performed by all vocalists consisting of the wonderful sopranos Carmen, Chiara, and Desirée in the lead as well as harmonious choirs.
 The Italian ensemble's often rather martial rhythms are accompanied by high-impact melodies built on ancient scales. Two harpsichords, bass viola, and the recurring presence of disturbing sounds, the unconventional manipulation of reverb and delay as well as the use of noise, all aim to create a sound that touches both the heavenly and the infernal.
 It goes without saying that such carefully crafted music with a strong vocal focus is perfectly reflected in fascinating and well-researched lyrics. The album title "Atalanta Fugiens" refers to an eponymous volume that was released at the beginning of the early modern period in 1617. Written by the German physician and alchemist Michael Maier, this emblem book contains 50 discourses with illustrations by Matthias Merian, each of which is accompanied by an epigrammatic verse, prose, and a musical fugue.
 Emblem books were popular in Europe during the 16th and 17th centuries. In this context an 'emblem' means allegorical illustrations with an accompanying explanatory text. After studying the enigmatic book for more than ten years, CAMERATA MEDIOLANENSE composed entirely new music for a selection of emblems (numbers 1, 7, 16, 25, 27, 32, 33, 36, 50) starting with the first and ending with the last. As a tribute to Maier, the ensemble also performed the original three-voice fugue of the final emblem.
 Michael Maier (1568–1622) studied medicine and philosophy in Germany and the Italian city of Padua. After getting arrested following a fight, he first returned to Germany and then moved to Prague where his growing interest in alchemy raised him first to the status of councillor to the politically weak Rudolf II of Habsburg. The emperor nonetheless supported the arts and dabbled in the occult, and later ennobled Maier to an Imperial Count Palatine.
 CAMERATA MEDIOLANENSE were established in Milan, Italy in 1994 as an ensemble, which also gave the band their name as it literally means a 'group of chamber musicians from Milan' – using the ancient Latin name of the city. As a primus inter pares, classically educated composer Elena Previdi has always written most of the music. She is also a much sought after harpsichord player who regularly performs in the famous Teatro alla Scala in Milan. Not all members of the ensemble come from a classical background. Mostly post-punk, wave, and even traditional music have also played an important part in the band's musical DNA.
 Over the last three decades, CAMERATA MEDIOLANENSE have built an impressive reputation for highly original albums and outstanding concerts that attract connoisseurs and music lovers from widely different scenes. Often viewed as an amalgamation of neo classic and dark wave, the Italians span a much wider range of styles and forms of expression. While the previous full-length "Le Vergini Folli" (2017) leaned stronger to the band's neo classical side, "Atalanta Fugiens" returns to the wider sonic approach of the earlier albums. Yet, these are only nuances in a most fascinating artistic journey. With "Atalanta Fugiens", CAMERATA MEDIOLANENSE carry the immense weight and strength of 30 years of creating a unique musical experience way up high to a new shining pinnacle.

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