Battuto and Pizzicato – Concertzender | Klassiek, Jazz, Wereld en meer

About Battuto and Pizzicato – Concertzender | Klassiek, Jazz, Wereld en meer

Radio, Themakanalen, On Demand

Publisher

Concertzender

Category

music

Language

nl

Explicit

No

First episode

29 Jul 2022

Latest episode

13 Aug 2022

Latest episodes

5 episodes in the feed.

1. 

   13 Aug 2022

   Episode 5. The Spanish folklore and the end of the battuto-pizzicato style.

   Towards the end of the 17th century, solo works for guitar appear for the first time in Spain, in books by Gaspar Sanz and Francisco Guerau. It is worth noting that this music is mainly in the plucked style (punteado in Spanish), and that strummed chords (rasgueado) are largely absent. After 1700, almost no music in the mixed battuto-pizzicato style appeared anymore in France and Italy. The last book of guitar music from Italy was published by Ludovico Roncalli in 1692, and twenty years after Robert de Visée published his second book (1686), only in 1705 François Campion’s Nouvelles Decouvertes appeared in France. In this episode, we will also hear the music by Domenico Rainer which was recently rediscovered. In Rainer’s works, we find clearly recognisable parallels with the violin music of Archangelo Corelli. Gaspar Sanz (1640 – 1710) * Canarios * Pavanas Rolf Lislevand, baroque guitar (cd Encuentro Sanz & Santa Cruz, Astrée E 8575, 1997) Gaspar Sanz * Canarios Miguel Rincon, baroque guitar (cd  Sones del Viejo Mundo, Lindoro NL3042, 2019) José Marin (fl. 2nd half 17th c.) * Sepan todos que muero * Coraçon in Prision Maria-Luz Álvarez, soprano and Lex Eisenhardt, baroque guitar (cd Spanish Songbooks, Emergo EC 3928-2, 2000) Ludovico Roncalli (1654–1713) * Allemande Bernhard Hofstötter, baroque guitar (cd Roncalli: Complete Guitar Music, Brilliant Classics 95856, 2021) Archangelo Corelli (1653 – 1713) From Sonata op. 5 nr. 8: * Preludio * Allemanda The Avison Ensemble (cd Corelli Opus 5 Violin Sonatas, Linn Records, CKD412, 2013) Archangelo Corelli, arr. Santiago de Murcia (1673 – 1739) * Toccata * Allegro Stefano Maiorana, baroque guitar (cd Santiago de Murcia: Entre dos almas, Arcana A484, 2021) Domenico Rainer (fl. c. 1700) * Suite in G minor – Allemande – Allegro – Giga – Sarabanda – Gavotta – Giga dell’ Rainer Lex Eisenhardt, baroque guitar (cd Domenico Rainer works for Baroque Guitar, Brilliant Classics 95866, 2019) Santiago de Murcia * Fandango Stefano Maiorana, baroque guitar (cd Santiago de Murcia: Entre dos almas, Arcana A484, 2021) Jean-Philippe Rameau (1683 – 1764) * La Villageoise Sophie Yates, harpsichord (cd  Rameau: Pièces de Clavecin Vol. 1, Chandos CHN659.2, 2000) François Campion (1686-1747) * Les Soupirs * Gigue la Somptueuse Lex Eisenhardt, baroque guitar (personal archive) Domenico Rainer * Giga in B minor Lex Eisenhardt, baroque guitar (cd Domenico Rainer works for Baroque Guitar, Brilliant Classics 95866, 2019)

2. 

   10 Aug 2022

   Episode 4. The Royal Guitar

   In contrast to Italy, where guitar books had been published since the beginning of the 17th century, the French repertoire in the battuto-pizzicato style emerged only about half a century later. In a short time, between 1671 and 1686, a considerable number of works appeared in print. The predilection that Louis XIV and his court composer Lully had for song and dance was of great influence. In Lully’s ballets and operas, various characters from the commedia dell’arte appear, such as Scaramouche, a creation by the actor Tiberio Fiorilli. This Scaramouche is often depicted with a guitar in hand. In addition, the presence in Paris of the charismatic virtuoso Francesco Corbetta, who was a welcome guest at the Royal courts of Europe, undoubtedly influenced the widespread – but also short-lived – fashion for the guitar. In the 1680s, Robert de Visée had a special position as a court musician. He had the privilege of being summoned frequently to play the guitar before the Royal supper in the private quarters of the Sun King, attended by a small group of intimates. Francesco Corbetta (1615 – 1681) * Folia Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Francesco Corbetta * Suite in A minor – Prelude – Allemande – Courante – Sarabande – Gigue Lex Eisenhardt, baroque guitar (personal archive) Jean Baptiste Lully (1632 – 1687) From the Ballet de la naissance de Vénus: * Première Entrée * Etoile du point du jour * Les Heures * Menuet Les Talens Lyriques olv. Christophe Rousset (cd Lully: Ballet royal de la naissance de Venus, Aparte AP255, 2021) Francesco Corbetta * Caprice de Chaconne Lex Eisenhardt, baroque guitar (personal archive) Robert de Visée (fl. 1682 – 1632) * Suite in D minor – Prelude – Allemande – Courante – Sarabande – Gavotte – Bourrée – Menuet I and II – Gigue – Passacaille Lex Eisenhardt, baroque guitar (personal archive) Antoire Forqueray (1672 – 1745) * La Sylva André Lislevand, viola da gamba (cd Forqueray unchained, Arcana A486, 2021) Robert de Visée * Suite in G major – Prelude – Allemande – Courante – Menuet – Gavotte en rondeau – Gigue Fred Jacobs, theorbo (cd Robert de Visée, pieces de theorbe, Metronome MET CD 1072, 2008) Marin Marais (1656 – 1728) * La guitare André Lislevand, viola da gamba, Jadran Duncumb, theorbo (cd Forqueray unchained, Arcana A486, 2021)

3. 

   7 Aug 2022

   Episode 3. Michelangelo Bartolotti.

   The heyday of the battuto-pizzicato repertoire was in the second half of the 17th century. The guitar’s greatest success was mainly due to a few charismatic virtuosi such as Francesco Corbetta, who was a welcome guest at the courts of Europe. However, some of the most important innovations in terms of the style can be found in Bartolotti’s Secondo libro (c. 1655). Angelo Michele (or Michelangelo) Bartolotti was famous mainly as a player of the theorbo, rather than as a performer of guitar music. In his second guitar book we find works in the pizzicato style of the lute, next to dances like the sarabanda and the passacaglia, which are predominantly strummed. Bartolotti’s virtuosic use of the guitar is striking, as is his successful integration of the Italian and French styles. Vincenzo Albrici (1631 – 1687) * Sinfonia in D minor Musica Antiqua Köln (cd Musica Baltica, DG Archiv 459 619-2AH, 1999) Michelangelo Bartolotti (fl. 1640 – 1669) Suite in E minor * Prelude * Allemande * Courante * Sarabande * Gigue * Passacaille Lex Eisenhardt, baroque guitar (personal archive) Giovanni Antonio Pandolfi Mealli (1624 – c. 1687) * La Vinciolina Andrew Manze, violin and Fred Jacobs, theorbo (cd Pandolfi Mealli violin sonatas, Channel Classics, CCS 5894, 1992) Michelangelo Bartolotti * Prelude * Allemande Simon Linné, theorbo (cd l’Art du théorbiste, Brilliant Classics 95426, 2017) Johann Jacob Froberger (1616 – 1667) Suite in D minor * Allemande * Courante * Sarabande * Gigue Gilbert Rowland, harpsichord (cd Froberger: Suites for harpsichord, Athene Records ATH 23204, 2019) Michelangelo Bartolotti * Sarabande * Gigue * Chaconne Simon Linné, theorbo (cd l’Art du théorbiste, Brilliant Classics 95426, 2017)

4. 

   4 Aug 2022

   Episode 2. Giovanni Paolo Foscarini. Guitar, lute, and theorbo.

   In the early 17th century the guitar became very popular in Italy, in particular because the instrument is ideally suited to accompany oneself, in popular songs. Around 1630, players began looking for a more sophisticated use of the instrument. Giovanni Paolo Foscarini, who played the guitar as well as the lute and the theorbo, started to integrate the plucked polyphony of the lute and the strummed chords of the guitar. Giovanni Paolo Foscarini (fl. 1620 – 1649) * Capriccio sopra la ciaccona Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Girolamo Kapsberger (c. 1580 – 1651) 2. Toccata 3. Corrente Fred Jacobs, theorbo (cd Virtù e nobilità, Metronome METCD1093, 2019) Biagio Marini (1594 – 1663) 4. Gagliarda 5. Corrente 6. Retirata Ensemble Romanesca (cd Curiose & Moderne Inventioni, Harmonia Mundi 2907175, 2004) Alessandro Piccinini (1566 – 1638) 7. Corrente 8. Gagliarda Nigel North, lute (cd Intavolatvra di livto et di chitarrone, Arcana CEX0584, 1995) Girolamo Kapsberger 9. Gagliarda Fred Jacobs, theorbo (cd Virtù e nobilità, Metronome METCD1093, 2019) Girolamo Frescobaldi (1583 – 1643) 10. Corrente – Ciaccona (1 track) Roberto Loreggian, harpsichord (cd Frescobaldi Edition Vol. 1, Toccatas & Partitas, Brilliant Classics – 93767, 2008) Giovanni Paolo Foscarini 11. Toccata 12. Corrente 13. Gagliarda Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Giovanni Paolo Foscarini 14. Ciaccona Lex Eisenhardt, baroque guitar (personal archive) Michelagnolo Galilei (1575 – 1631) 15. Toccata 16. Corrente Anthony Bailes, lute (cd Intavolatura di liuto, Ramée RAM 1306, 2014) René Mesangeau (c. 1568 – 1638) 17. Allemande 18. Courante Anthony Bailes, lute (cd Old Gautiers Nightingale, Ramée RAM 0707, 2007) Giovanni Paolo Foscarini 19. Alemanda in C minor Lex Eisenhardt, baroque guitar (personal archive) Jean-Henri D’Anglebert (1629 – 1691) 20. Allemande du Vieux Gautier 21. Courante du Vieux Gautier Mélisande McNabney, harpsichord (cd Inspirations, ATMA classique ACD2 2780, 2019) Biagio Marini 22. Passacaglio Hesperion XXI with Jordi Savall (cd Ostinato, AliaVox AV9820, 2001) Francesco Corbetta (1615 – 1681) 23. Passacaille Lex Eisenhardt, baroque guitar (personal archive) Giovanni Paolo Foscarini 24. Toccata 25. Corrente 26. Sarabanda Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006

5. 

   29 Jul 2022

   Episode 1. Spain and Italy.

   The story of the guitar begins in Spain, shortly after 1500. We first hear music for the vihuela, the Spanish counterpart of the lute. In Italy, at the beginning of the 17th century a transition is taking place to a new style, the Seconda pratica. Now the accompaniment of the solo voice takes the centre stage, and, like the theorbo, the guitar is frequently used for this purpose. Around that same time, chord playing on the five-course guitar flourishes in Spain as well, and the refined polyphony of the vihuela is abandoned. Luys de Narváez (fl. 1526-1549) 1. Fantasía del quarto tono 2. Ay arde coraçon¬ Lex Eisenhardt, vihuela (cd Music for Vihuela, Etcetera KTC 1114, 1991) Juan Vásquez (fl. 1511-1560) 3. Con qué la lavaré Ensemble la Colombina (cd Canciones, Romances, Sonetos, Accent 95111, 2000) Miguel de Fuenllana (fl. 1554–1574) 4. Con qué la lavaré Lex Eisenhardt, vihuela (cd La Guitarre Royalle, Etcetera KTC 1199, 1998) Diego Ortiz (fl. 1553–1576) 5. Passamezzo antiquo 6. La Romanesca 7. La Folia Les Basses Réunis (cd Trattado de glossas, Alpha 56, 2020) Luys de Narváez (fl. 1526–1549) 8. Diferencias sobre “Conde Claros” 9. Diferencias sobre “O Gloriosa Domina” Lex Eisenhardt, vihuela (cd Music for vihuela, Etcetera KTC 1114, 1991) Anonymous 10. O Gloriosa Domina (Gregorian hymn) La Capella Real de Catalunya with Jordi Savall (cd La Ruta de Oriente, AliaVox AVSA9856, 2008) Estéban Daza (c. 1537–1590) 11. A tierras agenas 12. Quién te hizo Juan pastor 13. Ay mudo soy Maria-Luz Álvarez, soprano. Lex Eisenhardt, vihuela (cd Spanish Songbooks, Emergo Classics EC 3928-2, 2000) Francesco Corbetta (1615–1681) 14. Ciaccona Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Martino Pesenti (c. 1600–1648) 15. Io non raggiero il piède Maria-Luz Álvarez, soprano. Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Francesco Corbetta 16. Corrente Lex Eisenhardt, baroque guitar (personal archive) Giovanni Paolo Foscarini (fl. 1620 – 1649) 17. Balletto il fedel amante 18. Corrente Francese Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Domenico Obizzi (c. 1611–1630) 19. E pur di novo Maria-Luz Álvarez, soprano. Lex Eisenhardt, baroque guitar (cd Canta Venetia!, Etcetera KTC 1316, 2006) Francesco Corbetta 20. Prelude from the suite in D minor (1671) Lex Eisenhardt, baroque guitar (personal archive)

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