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HERINGMAN, Jacob - Interprets

   Found CDs: 3
 

The Fitzwilliam Virginal Book - Transcriptions for a mixed consort

The Fitzwilliam Virginal Book - Transcriptions for a mixed consort
ID: SIGCD009
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

Artist track listing:
Susanne Heinrich: (a) treble viol (M.D. Attwood 1993, after B. Norman)
(b) tenor viol (M.D. Attwood 1993, after B. Norman)
(c) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Lynda Sayce: (d) Renaissance flute (L. Jones 1996)
(e) 7-course lute (M. Lowe 1998, after G. Gerle ca. 1580)
(f) chitarrone (D. Van Edwards 1987, after Tieffenbrucker III 1608)
Kah-Ming Ng: (g) chamber organ (V. Woodstock 1996)
(h) harpsichord (A. Garlick 1977, after I. Ruckers 1638)
Oliver Webber : (i) violin (A. Beavitt 1986, after Stradivari)
Susanna Pell: (j) 6-string bass viol (J. Julier 1992, after R. Meares)
Reiko Ichise: (k) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Jacob Heringman: (l) 4-course cittern (S. Barber 1994, late 16th-century style)
(m) 7-course lute (B. Hirst 1992, after Venere 1582)
Rupert Jennings: (n) Tenor voice
18.00 eur Buy

The Fitzwilliam Virginal Book - Transcriptions for a mixed consort

The Fitzwilliam Virginal Book - Transcriptions for a mixed consort
ID: SIGCD009
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

Artist track listing:
Susanne Heinrich: (a) treble viol (M.D. Attwood 1993, after B. Norman)
(b) tenor viol (M.D. Attwood 1993, after B. Norman)
(c) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Lynda Sayce: (d) Renaissance flute (L. Jones 1996)
(e) 7-course lute (M. Lowe 1998, after G. Gerle ca. 1580)
(f) chitarrone (D. Van Edwards 1987, after Tieffenbrucker III 1608)
Kah-Ming Ng: (g) chamber organ (V. Woodstock 1996)
(h) harpsichord (A. Garlick 1977, after I. Ruckers 1638)
Oliver Webber : (i) violin (A. Beavitt 1986, after Stradivari)
Susanna Pell: (j) 6-string bass viol (J. Julier 1992, after R. Meares)
Reiko Ichise: (k) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Jacob Heringman: (l) 4-course cittern (S. Barber 1994, late 16th-century style)
(m) 7-course lute (B. Hirst 1992, after Venere 1582)
Rupert Jennings: (n) Tenor voice
18.00 eur Buy

Wordplay - Instrumental versions of madrigals and chansons from 16th century Italy

Wordplay - Instrumental versions  of madrigals and chansons from 16th century Italy
ID: SIGCD031
CDs: 1
Type: CD
Collection: Renaissance
Subcollection: Historical Instruments

Words were more important than music in the Italian 16th century and song was therefore a higher art form than instrumental music. Composers such as Cipriano da Rore who observed the natural speech rhythms were afforded the highest accolades.

Wordplay presents a collection of highly decorated vocal music in purely instrumental performance. The disc explores the role of the soloist in a period of music which has come to be defined by consort playing. In the two centuries that this repertoire covers the borrowing and reworking of the music of earlier composers was regarded as creative, original and even as an act of respect or homage.

The disc is structured around instrumental divisions on five famous songs of 16th century and one bass-dance tenor. The divisions are for recorder, bass viol or lute. In total 17 different instruments are used including three types of recorder, three types of lute, seven sizes of viol, and a chamber organ. All are precise copies of early Italian instruments including wide-bore recorders and sound-postless viols.

Central to Wordplay are the writings of Slyvestro Ganassi, a recorder and viol player in early 16th century Venice. In La Fontegara (1535) and Regola Rubertina (1545) Ganassi defines the aim of the instrumentalist as being to imitate a good singer, and describes two distinct ways of doing so.

The first is naturalistic - how to replicate the singer's tonal and dynamic variety exactly (on the recorder with varied breath pressure and alternative fingerings, on the viol with bow and finger vibrato etc).

The second involves study of the text and using trills (from suave quarter-tones to vivace wide major thirds) and elaborate divisions (with notated syncopations and rubato) to express the sense of particular words and emotions. Fifty years later, Dalla Casa, Bassano and Rognoni have developed a more idiomatic instrumental style and have more polished and formulaic passaggi.

All the pieces - though instrumentalists - use exclusively vocal originals, and all would pay more than lip service to Giovanni Bardi's precept: "Words are the soul, music but the body"

WordPlay is one of the first recordings made in York's newly opened National Centre for Early Music in the church of St Margaret, Walmgate.

Musica Antiqua is one of England's most celebrated early music ensembles and they have triumphed here with their third disc for Signum Records!
18.00 eur Buy

 
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