Evangelina Mascardi, Frédéric Zigante, Cornelia Demmer - Lassus: Io ti vorria contar... Transcriptions for Lute (2023) [Hi-Res]
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BAND/ARTIST: Evangelina Mascardi, Frédéric Zigante, Cornelia Demmer
- Title: Lassus: Io ti vorria contar... Transcriptions for Lute
- Year Of Release: 2023
- Label: Musique en Wallonie
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:01:47
- Total Size: 294 mb / 1.0 gb
- WebSite: Album Preview
Tracklist
01. Io ti vorria contar, LV 658 (Transcr. for Lutes by Evangelina Mascardi)
02. Quand mon mary, LV 153 (Transcr. for Solo Lute by Jean‑Baptiste Besard)
03. La Bataille ad secundam
04. Iay un mary (Transcr. for Solo Lute by Sixt Kargel)
05. Madonna mia pietà, LV 30 (Transcr. for Lutes by Evangelina Mascardi)
06. Passomezo d’italye ad quintam
07. Du corps absent, LV 171 (Transcr. for Lutes by Evangelina Mascardi)
08. Avecques vous mon amour, LV 38 (Transcr. for Solo Lute by Melchior Neusidler)
09. La nuict froide et sombre, LV 578 (Transcr. for Lutes by Evangelina Mascardi)
10. Balleto
11. Ricercare del nono tuono per b
12. Contrappunto sopra Susanna un jour di Orlando per suonare a doi liutti
13. Balletto alla francese
14. Volta quarta alla francese
15. Canzone prima
16. Ciparissa, gagliarda
17. Veni in hortum meum, LV 114 (Transcr. for Solo Lute by Giovanni Antonio Terzi)
18. Gagliarda
19. Susanneken (Transcr. for Lutes by Evangelina Mascardi)
20. Susanne un jour, LV 98
21. Robin is to the Greenwood Gone (Transcr. for Solo Lute by John Dowland)
22. The Lord Viscount Lisle his Galliard
23. Fantasia
In that apogee of polyphonic vocal music, the 16th century, Roland de Lassus (Mons c. 1532-Munich 1594) is pre-eminent. So famous was he that by the time he was 34, Samuel Quickelberg had already written the biography of "the more than divine Orlando", as the poet Ronsard called Lassus, and as early as 1560 had praised the fact that he regarded music and words as of equal importance. But beyond his mastery of polyphonic language, what clearly characterises Lassus is his ability to feel at home in all styles whether secular or sacred, serious or light-hearted. His impressive oeuvre, confined to the vocal domain, reveals a conception of music, which had long been cloistered and hierarchical. But the lute is an exceptional instrument with numerous special advantages: it is convenient to handle, easily transported, and able to play alone to accompany music in several parts at once; it can accompany singing or fit easily into ensembles. Thanks to its polyphonic capabilities, the lute can combine separately printed voice parts into vocal editions. Being the instrument of musical synthesis, the lute points the way to the development of instrumental music. In the Renaissance, lute music is divided into three groups: dance music, polyphonic vocal works in tablature form, and freer forms of music (fantasias or ricercars) often based on the same contrapuntal rules as vocal music. The recital in this CD illustrates all these different genres.
01. Io ti vorria contar, LV 658 (Transcr. for Lutes by Evangelina Mascardi)
02. Quand mon mary, LV 153 (Transcr. for Solo Lute by Jean‑Baptiste Besard)
03. La Bataille ad secundam
04. Iay un mary (Transcr. for Solo Lute by Sixt Kargel)
05. Madonna mia pietà, LV 30 (Transcr. for Lutes by Evangelina Mascardi)
06. Passomezo d’italye ad quintam
07. Du corps absent, LV 171 (Transcr. for Lutes by Evangelina Mascardi)
08. Avecques vous mon amour, LV 38 (Transcr. for Solo Lute by Melchior Neusidler)
09. La nuict froide et sombre, LV 578 (Transcr. for Lutes by Evangelina Mascardi)
10. Balleto
11. Ricercare del nono tuono per b
12. Contrappunto sopra Susanna un jour di Orlando per suonare a doi liutti
13. Balletto alla francese
14. Volta quarta alla francese
15. Canzone prima
16. Ciparissa, gagliarda
17. Veni in hortum meum, LV 114 (Transcr. for Solo Lute by Giovanni Antonio Terzi)
18. Gagliarda
19. Susanneken (Transcr. for Lutes by Evangelina Mascardi)
20. Susanne un jour, LV 98
21. Robin is to the Greenwood Gone (Transcr. for Solo Lute by John Dowland)
22. The Lord Viscount Lisle his Galliard
23. Fantasia
In that apogee of polyphonic vocal music, the 16th century, Roland de Lassus (Mons c. 1532-Munich 1594) is pre-eminent. So famous was he that by the time he was 34, Samuel Quickelberg had already written the biography of "the more than divine Orlando", as the poet Ronsard called Lassus, and as early as 1560 had praised the fact that he regarded music and words as of equal importance. But beyond his mastery of polyphonic language, what clearly characterises Lassus is his ability to feel at home in all styles whether secular or sacred, serious or light-hearted. His impressive oeuvre, confined to the vocal domain, reveals a conception of music, which had long been cloistered and hierarchical. But the lute is an exceptional instrument with numerous special advantages: it is convenient to handle, easily transported, and able to play alone to accompany music in several parts at once; it can accompany singing or fit easily into ensembles. Thanks to its polyphonic capabilities, the lute can combine separately printed voice parts into vocal editions. Being the instrument of musical synthesis, the lute points the way to the development of instrumental music. In the Renaissance, lute music is divided into three groups: dance music, polyphonic vocal works in tablature form, and freer forms of music (fantasias or ricercars) often based on the same contrapuntal rules as vocal music. The recital in this CD illustrates all these different genres.
Year 2023 | Classical | FLAC / APE | HD & Vinyl
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