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Wydawnictwo: Vanitas
Nr katalogowy: VA 04
Nośnik: 1 CD
Data wydania: maj 2015
EAN: 8436001539713
na zamówienie
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Epoka muzyczna: renesans, barok
Obszar (język): włoski, hiszpański
Instrumenty: viola da gamba
Rodzaj: toccata

Apoteosis. Viola Bastarda

Vanitas - VA 04

G. Diruta (1554-1610); R. Rogniono (c.1555 -1620); G. Frescobaldi (1583-1643); B. de Selma; A. A. Gómez (1978); A. Ferrabosco (c. 1575-1628); F. M. Bassani (1620); C. Merulo (1533-1604)
Divina Misteria:
Thor Jorgen, viola da gamba
Pavel Amilcar, violín
Andres Alberto Gomez, organ
Nagrody i rekomendacje
Diapason 5 Music Island Recommends
G. Diruta (1554-1610:
Toccata di grado del primo tuono
R. Rogniono (c.1555 -1620):
Ancor che col partire
G. Frescobaldi (1583-1643):
Canzona quinta La Trombonccina
R. Rogniono (c.1555-1620):
Ancor che col partire
B. de Selma (c.1580-post.1638):
Canzona prima a doi
A. A. Gómez (1978):
Preludio improvisación
F. Rognoni (c. 1550 -1626):
Susana paseggiata
F.M. Bassani (1620-22):
Toccata del signor Oratio Bassani
B. de Selma y Salaverde:
Susana paseggiata
C. Merulo (1533-1604):
A. Ferrabosco (c. 1575-1628):
Sound Out My Voice
G. Guami (1542-1611):
F. M. Bassani:
Toccata per b cuadro del
F. Rognoni:
Vestiva i Colli
B. de Selma y Salaverde:
Vestiva i Colli passegiatto a doi
The study of Baroque music is based upon an analytic endeavor which leads to a musical interpretation through criteria which are born in reflection on a musical text and its setting. But this study is also product of a consideration of the coexistence and restructuring of these criteria in accord with our contemporary circumstances, revealing to us the vibrancy of this system of musical esthetics and its eternal regenerative capacity. All of this implies a search for and study of these sources which are both responsible and respectful. One must also carry out this deconstructive exercise about the context of these works with the clear knowledge that one is rereading each source from the perspective of one’s contemporary and immediate cosmovision, and, as a result, endowing it with a new meaning.

There is no way to struggle against the passing of time nor to reconstruct it with any kind of accuracy. What we can do is to carry out an exercise in intertextuality and reinvention today in which we can give new life to a work, to a concept and an expressive style of a composite imaginary from centuries past. Following along these parameters we can begin to undertake the analysis of the evolution of a special aspect of the history of the violin. More specifically we can focus our attention upon a period of no more than 50 years of this history: taking place precisely between the sixteeth and seventeeth centuries in the country now known as Italy. We are here referring to the viola bastarda and its style of composition and interpretation which has been named alla bastarda.

Zobacz także:

  • EPRC 060
  • ARS 38642