La Mascarade - Music For Solo Baroque Guitar And Theorbo

发行时间:2016-05-20
发行公司:ECM New Series
简介:  Rolf Lislevand - La Mascarade Rolf Lislevand: Baroque guitar, theorbo In this wonderful solo album, Norwegian early music performer Rolf Lislevand turns his attention to two composers from the court of Louis XIV: Robert de VisEe (c. 1655-1732) and the Italian-born Francesco Corbetta (c. 1615-1681), and plays their masterpieces with historical awareness and an inventiveness which belongs to the tradition. De Visee wrote about playing what the instruments themselves called for, advice Lislevand takes to heart, adding improvised introductions to passacaglias from both composers. He uses two contrasting instruments here, the small Baroque guitar with its sparkling, crystal-clear sonorities and the theorbo, the dark-toned and earthy king of the lutes. In his fascinating liner notes, Lislevand reminds us that 17th century instrumental performance was often an intimate affair, with lutenists frequently playing to a dozen privileged listeners. The physical presence of the instruments and that sense of intimacy is recaptured by Manfred Eichers production of La Mascarade, made at Luganos Auditorio Stelio Molo.
  Rolf Lislevand - La Mascarade Rolf Lislevand: Baroque guitar, theorbo In this wonderful solo album, Norwegian early music performer Rolf Lislevand turns his attention to two composers from the court of Louis XIV: Robert de VisEe (c. 1655-1732) and the Italian-born Francesco Corbetta (c. 1615-1681), and plays their masterpieces with historical awareness and an inventiveness which belongs to the tradition. De Visee wrote about playing what the instruments themselves called for, advice Lislevand takes to heart, adding improvised introductions to passacaglias from both composers. He uses two contrasting instruments here, the small Baroque guitar with its sparkling, crystal-clear sonorities and the theorbo, the dark-toned and earthy king of the lutes. In his fascinating liner notes, Lislevand reminds us that 17th century instrumental performance was often an intimate affair, with lutenists frequently playing to a dozen privileged listeners. The physical presence of the instruments and that sense of intimacy is recaptured by Manfred Eichers production of La Mascarade, made at Luganos Auditorio Stelio Molo.