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> Matthew Wadsworth "Masters of the Lute", SACD

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post 14/07/2009, 13:41
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Matthew Wadsworth "Masters of the Lute" SACD

Matthew Wadsworth "Masters of the Lute" , SACD

Genre: Classical – Instrumental

Гибридный SACD 5.0

Total time 56.47

Matthew Wadsworth - 8 course lute, Theorbo, 13 course baroque lute
    John Dowland (1563-1626)
  1. Preludium 1.21
  2. Forlorn Hope Fancy 3.53
  3. Lachrimae Pavin 4.57
  4. Lachrimae Galliard 2.59
  5. My Lord Willoughby's Welcome Home 1.27
  6. The Right Honourable Robert, Earl of Essex, His Galliard 1.53
  7. Greensleeves - Francis Cutting (d1596) 3.50

    Giovanni Gieralomo Kapsberger (c1580-1651)
  8. Toccata Arpeggiata 2.46
  9. Kapsberger (by Kapsberger) 4.10

    Alessandro Piccinini (1566-1638)
  10. Toccata X 2.49
  11. Chiaconna in partite variate 3.12

    Robert de Visée (c1655-c1732)
  12. Prélude 1.23
  13. Allemande 2.43
  14. Courante 1.41
  15. Sarabande 4.29
  16. Gigue 1.41
  17. Chaconne des Harlequins 3.04

    Heinrich Ignaz Franz von Biber (1644-1704)
  18. Passacaglia (arr. Karle Fischer) 6.53

Recording location St. Martin's Church, East Woodhay, UK
Recording date September 2005
Producer: Jonathan Freeman-Attwood
Recording engineer, editing: C. Jared Sacks

Channel Classics Records (CCS SA 24206, 7 23385 24206 2), 2006
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post 14/07/2009, 13:44
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Цитата( буклет )

John Dowland (1563-1626) was one of England's greatest composers and lutenists, as well as a ground-breaking innovator. It was Dowland who effectively created the English lute-song, imaginatively drawing together elements from the broadside ballad, dance music, consort song and madrigal. He is famous for his passionate and almost obsessive melancholy which is never far away in his music, with sleep and death being sought as a release from earthly woes. Although clearly an affectation of the time, it was one which drew an acutely personal response from Dowland. He produced four marvelous books of songs and ayres, as well as over 100 solo pieces. The solos include virtually every form used by lutenists at the time: fantasies, dance movements (most notably, pavans and galliards) ballad tunes and sets of variations.

In our own day, Dowland's music is very much thought of as being fresh and inventive, yet in his preface to A Pilgrime's Solace (1612) he mentions that his contemporaries thought otherwise. Although his music was admired throughout Europe for its tunefulness, dark melancholy and chromaticism, Dowland was still using older forms of composition, rather than the more fashionable lighter dances which were in vogue at the time. His pavans are written in an imitative style, found in consort music, which is so very different from the bass-driven harmonic textures of the younger generation such as Robert Johnson and Daniel Bacheler. Of the six pieces which begin this record, 'Lachrimae Pavin' and 'The Earl of Essex Galliard' also appear in Dowland's books of songs: Lachrimae Pavin as the song, 'Flow my teares' (Book Two, 1600), and the Earl of Essex Galliard as 'Can she excuse my wrongs' (Book One, 1597).

In 1596 (a year before Dowland's First Book of Songs), William Barley published 'A New Booke of Tablature' for the lute, orpharion and bandora. The talented lutenist and composer Francis Cutting is prominently featured (being the only composer to have his name written out in full), contributing eleven pieces, compared to seven by Dowland. We don't know a great deal about Cutting other than that he flourished in London from about 1571 and died in 1596. His music is of high and charming quality, and he made an enormous contribution to the lute repertoire with more than 51 solos. Like Dowland, he used traditional dance forms such as pavans and almains as his model, although he does not appear to have written any fantasies or preludes.

Along with the theme to Lachrimae, 'Greensleeves' became something of a 17th century hit tune. It is based on the 'passamezzo antico' and the first printed version of the song appeared in 1580 (well into the reign of Elizabeth I). Of the many versions that survive for lute, Cutting's is the most sophisticated. I have sandwiched Cutting's Greensleeves between the chord sequence of the 'passamezzo' (a common and expected practice at the time).

Beauty of harmony, balance and an eloquent regard for structure were the basic foundations of Renaissance composition and performance of music. Around the be¬ginning of the 17th century, however, composers began to tire of these constraints, and the prescriptive if undeniable purity and perfection of the polyphonic style; they yearned for their opposites. They deliberately upset the ethos of the 'prima prattica' (the hallowed 'first practice' of composition upon which the canon of the last century had been built) and developed a taste for personal expression and theatrical rhetoric. In Europe, Italy was the most fertile ground for the growth of these new theories and philosophies. Composers found themselves immersed in an atmosphere of seemingly limitless experimentation and freedom. Echoing the development of 'chiaroscuro' in the visual arts, musicians were split into two groups: exponents of melodic instruments such as the violin, cornetto or recorder, with their virtuosic and dramatic expressive powers, and those who practised the newly established art of basso continuo. One of the instruments belonging to this latter group was the chitarrone, or theorbo. Its bass-rich sonority was exploited by composers such as Caccini and Merula in the accompaniment of song. Remembering that at this time instrumental construction and playing technique were developing hand-in-hand with musical composition, it comes as no surprise to find that solo music began to emerge for this newly-perfected instrument.

Johann Hieronymus, alias Giovanni Giralomo Kapsberger (c1581-1651), was the son of a German nobleman. He was born in Venice and in later years was affectionately named 'El Tedesco della Tiorba', the German Gentleman of the Theorbo. Contemporary accounts show that he soon acquired an estimable reputation as a performer and composer and was held to be the finest continuo player in his field. Kapsberger was the first to publish a book of works for theorbo, Intavolatura di Chitarrone Libro Primo (Venice 1604). He was an eccentric man and among the affects he pioneered in his theorbo music are 'strascini', long virtuosic slurred passages, 'campanella', cross-string, harp-like figurations, trills, groppi, mordents and various types of arpeggios. His obsession with the unusual, systematic avoidance of cliches and fondness for inventing new devices are all qualities praised by his contemporaries.

During his time in Rome, Kapsberger would have come into contact with the other great exponent of the chitarrone, Alessandro Piccinini. Alessandro was born into a musical family in 1566 in Bologna, his father and two brothers all being lutenists. Between 1582 and 1598, they were employed at the d'Este Court in Ferrara. Upon the death of Duke Alfonso II, Alessandro moved to Rome, staying until 1611 when he moved back to Bologna where he remained until his death in 1638. In Bologna in 1623, he published his 'Intavolatura di Liuto e Chitarrone, Libro Primo', a volume containing many fine works for lute and chitarrone. With the chitarrone's unique re-entrant tuning, (the top 2 strings being an octave lower than expected), contrapuntal playing on the instrument is somewhat impractical - Piccinini's writing for this instrument is much more harmonic than that in his lute pieces. His melodic flair is still apparent, however. In the Toccatas, he explores the chitarrone's expressive possibilities with all manner of idiomatic musical phrases, harmonies and chromaticism.

Some four or five years after Kapsberger's death (1651), one of the most talented and prolific French composers of theorbo and guitar music was born. Robert de Visée (c1655-c1732) was employed for much of his career at the court of Louis XIV. He was called upon to play at the evening gatherings at court, and would often play at the King's bedside. Visée published two books of suites for baroque guitar and was a frequent arranger of both his own and other composer's music. Nearly all his surviving theorbo music can be found in the wonderful manuscript of Vaudry de Saisenay (Paris, 1699). Many of these pieces are duplicates of his guitar works but there are also some wonderful arrangements of operatic airs, such as the Chaconne des Harlequins from Lully's 'Le Bourgeois gentilhomme'. His use of the theorbo is quite different to that of his earlier Italian counterparts in that much more use is made of the bass, rather like the right and left hands of a keyboard instrument. His colleagues included Marin Marais and François Couperin, and given the extant number of manuscripts in which his music appears, Visée was clearly held in the highest regard. For the closing piece of this recital, we stay with the theme of transcription and arrangement of other people's music. Heinrich Ignaz Franz von Biber (1644-1744) was undoubtedly one of the 17th-century's most extraordinary violin virtuosos, something of a Kapsberger of the violin. A lute arrangement of the 'Passacaglia' from Sonata no. 6 in C minor (1681) survives at the library of the Kremsmünster monastry. Its author, Ferdinand Fischer (1652-1725), was a monk, well known for his skills as a lutenist. Intended perhaps for the amateur, it is heavily simplified, almost re-written, and yet at the same time remains disarmingly poignant and idiomatic on the lute.

copyright Matthew Wadsworth,
June 2006

Небольшая ретроспектива произведений Мастеров лютни от Высокого Возрождения (англичанин Джон Дауленд, итальянец немецкого происхождения Джованни Джеронимо (Иоганн Иероним) Капсбергер, итальянец Алессандро Пиччинини) до Барокко (француз Робер де ВизЕ и немец Генрих Игнац Франц фон Бибер). В соответствии со временем подбирался и инструмент: лютня с 8 хорами (ее колковая коробка с 15 струнами видна на обложке), теорбо и наконец лютня с 13 хорами (не меньше 20 струн, но фото нет). Никакой суетливости, спокойный инструмент, часто используемый для аккомпанемента или континуо, хотя встречаются, а здесь представлены именно они, сольные «виртуозные» произведения. Для лютни писал и И.С.Бах, неслучайно и Визе и Бибер так его напоминают. Не обошлось, естественно, и без Зеленых рукавов, только в композиции Дауленда это узнаваемая, но сильно переработанная мелодия в стиле менуэта.
Записано в слабо резонансной церкви Св.Марка. Инструмент звучит немного ближе переднего фронта, от чего звук несколько сверху, но звучание получилось очень красивым, даже скажу милым.

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