Ugo Nastrucci - Molinaro: Danze e fantasie da intavolatura di liuto libro I (2019) [Hi-Res]
![Ugo Nastrucci - Molinaro: Danze e fantasie da intavolatura di liuto libro I (2019) [Hi-Res]](https://www.dibpic.com/uploads/posts/2019-01/1548385197_ugo-nastrucci-molinaro-danze-e-fantasie-da-intavolatura-di-liuto-libro-i-2019.jpg)
BAND/ARTIST: Ugo Nastrucci
- Title: Molinaro: Danze e fantasie da intavolatura di liuto libro I
- Year Of Release: 2019
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless / flac 24bits - 44.1kHz +booklet
- Total Time: 01:08:20
- Total Size: 290 / 593 mb
- WebSite: Album Preview
Tracklist
---------
01. Fantasia prima
02. Pass'e mezo in otto modi
03. Gagliarda in quattro modi
04. Saltarello primo
05. Fantasia undecimal
06. Pass'e mezo in dieci modi
07. Gagliarda in sei modi
08. Frais & Gaillard. Canzone francese a quattro di Clemens non Papa. Intavolata dal Molinaro
09. Fantasia quinta
10. Fantasia terza
11. Pass'e mezo in quattro modi
12. Gagliarda in tre modi
13. Fantasia sesta
14. Vng gaij bergier. Canzone francese a quattro di Thomas Crecquillon. Intavolata dal Molinaro
15. Fantasia seconda
16. Ballo detto Il conte Orlando
Lute music by a true Renaissance man: publisher, teacher and performer, Genovese man of letters and musician to his fingertips.
Acknowledged as a model and authority by the great German composer Michael Praetorius, Simone Molinaro (1565-1636) is little known today but was known throughout Europe in his own age. He died as master of music at the ducal palace of Genoa, an eminent role he had held for a decade. Born into a musical family, he trained as a church musician and took vows in the early stages of priesthood before begin dismissed in 1616 as Chapel Master of music at the Cathedral in Genoa, having the previous year married into local aristocracy. All the while he continued to play, to teach and to compose on his principal instrument, the theorbo. This book of dances, fantasias and intabulations (transcriptions) was published in 1599 and it demonstrates a comprehensive knowledge of the instrument and its repertoire. The rich and challenging chords and fingerings demonstrate Molinaro’s own virtuosity as a performer. There is something quintessentially noble about Molinaro’s work as a composer. Although his idiom is that of the Renaissance, his musical ideas reveal the sort of horizontal, linear development that owes much to Flemish counterpoint. In Ugo Nastrucci’s careful ordering of the volume, moments of strict counterpoint alternate with lighter virtuoso variations in the extended passamezzi which contrast with elegant galliards and sprightly saltarellos.
Nastrucci contributes his own, invaluable essay on the composer and his music to the booklet. He closes the album with what is probably Molinaro’s most famous piece, the Ballo detto il Conte Orlando which was transcribed over a century ago in modern notation by Oscar Chilesotti, and rearranged by Ottorino Respighi in the first suite of his Antiche arie e danze of 1917.
---------
01. Fantasia prima
02. Pass'e mezo in otto modi
03. Gagliarda in quattro modi
04. Saltarello primo
05. Fantasia undecimal
06. Pass'e mezo in dieci modi
07. Gagliarda in sei modi
08. Frais & Gaillard. Canzone francese a quattro di Clemens non Papa. Intavolata dal Molinaro
09. Fantasia quinta
10. Fantasia terza
11. Pass'e mezo in quattro modi
12. Gagliarda in tre modi
13. Fantasia sesta
14. Vng gaij bergier. Canzone francese a quattro di Thomas Crecquillon. Intavolata dal Molinaro
15. Fantasia seconda
16. Ballo detto Il conte Orlando
Lute music by a true Renaissance man: publisher, teacher and performer, Genovese man of letters and musician to his fingertips.
Acknowledged as a model and authority by the great German composer Michael Praetorius, Simone Molinaro (1565-1636) is little known today but was known throughout Europe in his own age. He died as master of music at the ducal palace of Genoa, an eminent role he had held for a decade. Born into a musical family, he trained as a church musician and took vows in the early stages of priesthood before begin dismissed in 1616 as Chapel Master of music at the Cathedral in Genoa, having the previous year married into local aristocracy. All the while he continued to play, to teach and to compose on his principal instrument, the theorbo. This book of dances, fantasias and intabulations (transcriptions) was published in 1599 and it demonstrates a comprehensive knowledge of the instrument and its repertoire. The rich and challenging chords and fingerings demonstrate Molinaro’s own virtuosity as a performer. There is something quintessentially noble about Molinaro’s work as a composer. Although his idiom is that of the Renaissance, his musical ideas reveal the sort of horizontal, linear development that owes much to Flemish counterpoint. In Ugo Nastrucci’s careful ordering of the volume, moments of strict counterpoint alternate with lighter virtuoso variations in the extended passamezzi which contrast with elegant galliards and sprightly saltarellos.
Nastrucci contributes his own, invaluable essay on the composer and his music to the booklet. He closes the album with what is probably Molinaro’s most famous piece, the Ballo detto il Conte Orlando which was transcribed over a century ago in modern notation by Oscar Chilesotti, and rearranged by Ottorino Respighi in the first suite of his Antiche arie e danze of 1917.
Year 2019 | Classical | FLAC / APE | HD & Vinyl
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads