Margaret Little, Sylvain Bergeron - Doulce Mémoire (2014) [Hi-Res]
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BAND/ARTIST: Margaret Little, Sylvain Bergeron
- Title: Doulce Mémoire
- Year Of Release: 2014
- Label: ATMA Classique
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:02:25
- Total Size: 305 mb / 1.15 gb
- WebSite: Album Preview
Tracklist
01. Trattado de glosas: Recercada prima, quarta, ottava
02. Divisions on a Ground
03. The Duke of Norfolk (Paul's Steeple)
04. Love's Constancy
05. Doulce Mémoire
06. Trattado de glosas: Recercada seconda, "Doulce Mémoire"
07. Fantasia Basso solo
08. Roger of Coverly
09. Divisions upon "John Come Kiss Me Now"
10. Trattado de glosas: Recercada sobre, "O felicci ochi miei"
11. Trattado de glosas: Recercada quinta
12. Another Ground
13. Tollets Ground
14. Ricercata Ottava
15. Diminutions sur "Ancor che col Partire"
16. Dolce Memoy
17. Faronells Division on Ground, "Folia"
Who amongst us has not been blown away by the virtuoso improvisations of jazz players, or surprised and charmed on hearing a new arrangement of a favorite song? Not surprisingly, our predecessors were like us; in the 16th and 17th centuries, the art of improvising, of making variations, was an essential component of every musician’s tool kit. At times there were even improvising competitions, not unlike our theatre improv leagues.
Our program takes its title from that of one of the most celebrated madrigals of the 16th century, Doulce Mémoire by Pierre Sandrin. The immense popularity this song enjoyed throughout its century was due, surely, to beautiful and simple melodic lines and elegant lyrics. Of the more than 30 versions of this song written for all kinds of instruments and combinations, from the simplest to the most complex, we have chosen three.
The first is a simple duo by François Layolle. The second is a version for treble viol by Diego Ortiz. In 1553, he published a treatise on diminutions (a form of embellish- ment), illustrated by sample pieces embellished in various ways. These examples included the madrigals Doulce Mémoire and O Felici occhi miei. Diminutions were made by dividing long notes of the melody into a series of shorter notes either sur- rounding the melody note or filling up the interval between it and the next melody note.
Ortiz’s diminutions are of great beauty, but other less well known composers have left us examples of even greater elaboration. Vincenzo Bonizzi, for example, who, a century after Ortiz, made another version of the celebrated madrigal. Bonizzi’s Dolce Memoy is an alla Bastarda version. The term designates a style in which a simple four-voice madrigal is transformed into a single, embellished, melodic line.
The embellishments, still diminutions, are so complex that the original madrigal is unrecognizably transformed into a virtuoso piece. The madrigal Ancor che col partire also inspired multiple versions, with ornamentations of which those of Ricardo Rogniono are among the most inspired.
The Diego Ortiz pieces which open the program were composed on the bass line of the passamezo antico, a four-chord progression that which served as the harmonic pattern for a number of popular dances of the time in Italy. Giovanni Bassano’s Ricercata Ottava is a kind of improvisation committed to paper, while Bartolomeo de Selma’s Fantasia per Basso solo proposes variations on a bass line that is more elabo- rate than Ortiz’s.
John Playford published The Division Violin in 1684. From among these “divisions” we have chosen for you some that sit very well on bass or treble viol. These variations were written on a ground (a repeating bass line, as in Pachelbel’s celebrated Canon), or on popular songs such as John come kiss me now. The style is reminiscent of that of the traditional fiddlers of Quebec! We find a similar descending bass line in Love’s Constancy, a song by Nicholas Lanier, here played and ornamented on the lute. Faronells Division on a Ground, which ends our program, is based on the hugely celebrated theme of La Folia.
Margaret Little, viola
Sylvain Bergeron, archlute
01. Trattado de glosas: Recercada prima, quarta, ottava
02. Divisions on a Ground
03. The Duke of Norfolk (Paul's Steeple)
04. Love's Constancy
05. Doulce Mémoire
06. Trattado de glosas: Recercada seconda, "Doulce Mémoire"
07. Fantasia Basso solo
08. Roger of Coverly
09. Divisions upon "John Come Kiss Me Now"
10. Trattado de glosas: Recercada sobre, "O felicci ochi miei"
11. Trattado de glosas: Recercada quinta
12. Another Ground
13. Tollets Ground
14. Ricercata Ottava
15. Diminutions sur "Ancor che col Partire"
16. Dolce Memoy
17. Faronells Division on Ground, "Folia"
Who amongst us has not been blown away by the virtuoso improvisations of jazz players, or surprised and charmed on hearing a new arrangement of a favorite song? Not surprisingly, our predecessors were like us; in the 16th and 17th centuries, the art of improvising, of making variations, was an essential component of every musician’s tool kit. At times there were even improvising competitions, not unlike our theatre improv leagues.
Our program takes its title from that of one of the most celebrated madrigals of the 16th century, Doulce Mémoire by Pierre Sandrin. The immense popularity this song enjoyed throughout its century was due, surely, to beautiful and simple melodic lines and elegant lyrics. Of the more than 30 versions of this song written for all kinds of instruments and combinations, from the simplest to the most complex, we have chosen three.
The first is a simple duo by François Layolle. The second is a version for treble viol by Diego Ortiz. In 1553, he published a treatise on diminutions (a form of embellish- ment), illustrated by sample pieces embellished in various ways. These examples included the madrigals Doulce Mémoire and O Felici occhi miei. Diminutions were made by dividing long notes of the melody into a series of shorter notes either sur- rounding the melody note or filling up the interval between it and the next melody note.
Ortiz’s diminutions are of great beauty, but other less well known composers have left us examples of even greater elaboration. Vincenzo Bonizzi, for example, who, a century after Ortiz, made another version of the celebrated madrigal. Bonizzi’s Dolce Memoy is an alla Bastarda version. The term designates a style in which a simple four-voice madrigal is transformed into a single, embellished, melodic line.
The embellishments, still diminutions, are so complex that the original madrigal is unrecognizably transformed into a virtuoso piece. The madrigal Ancor che col partire also inspired multiple versions, with ornamentations of which those of Ricardo Rogniono are among the most inspired.
The Diego Ortiz pieces which open the program were composed on the bass line of the passamezo antico, a four-chord progression that which served as the harmonic pattern for a number of popular dances of the time in Italy. Giovanni Bassano’s Ricercata Ottava is a kind of improvisation committed to paper, while Bartolomeo de Selma’s Fantasia per Basso solo proposes variations on a bass line that is more elabo- rate than Ortiz’s.
John Playford published The Division Violin in 1684. From among these “divisions” we have chosen for you some that sit very well on bass or treble viol. These variations were written on a ground (a repeating bass line, as in Pachelbel’s celebrated Canon), or on popular songs such as John come kiss me now. The style is reminiscent of that of the traditional fiddlers of Quebec! We find a similar descending bass line in Love’s Constancy, a song by Nicholas Lanier, here played and ornamented on the lute. Faronells Division on a Ground, which ends our program, is based on the hugely celebrated theme of La Folia.
Margaret Little, viola
Sylvain Bergeron, archlute
Classical | FLAC / APE | HD & Vinyl
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