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LA FOLIA 1490-1701
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Reference: AVSA9805

Jordi Savall, violes de gambe
Rolf Lislevand, vihuela, guitare, théorbe
Michael Behringer, clavecin, organo di legno, claviorganum
Arianna Savall, harpe triple
Bruno Cocset, basse de violon
Pedro Estevan, percussion
Adela Gonzales-Campa, castagnettes et grelots (cascabele

Throughout the 16th and 17th centuries, and long before the appearance of the violin, the bass viol was the most widely used bowed instrument for improvisation on a basso ostinato. According to the various treaties and historical references (Diego Ortiz, Aurelio Virgiliano, Christopher Simpson, André Maugars, etc..), a good musician should be able to carry out and improvise variations on a song, a theme or a bass continuo during a concert or any other musical performance (see Maugars, 1638)

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Intèrprets

Jordi Savall, violes de gambeRolf Lislevand, vihuela, guitare, théorbeMichael Behringer, clavecin, organo di legno, claviorganumArianna Savall, harpe tripleBruno Cocset, basse de violonPedro Estevan, percussionAdela Gonzales-Campa, castagnettes et grelots (cascabele

Llista de temes

I. Folias AntiguasAnonyme : Folia : Rodrigo Martinez (1490) : Improvisations d’après le villancico du Cancionero de PalacioDiego Ortiz (1510-1570) : Recercada Quarta sobre la Folia (1553) – Recercada Ottava sobre la Folia (1553)Antonio de Cabezón (1510-1566) : Folia : Para quien crié caballos (1557)Juan del Enzina (1468-c.1530) : Folia : Hoy comamos y bebamos (v.1520). Improvisations d’après le villancico de Juan del EnzinaII. Antonio Martín y Coll (?-ap.1734)Differencias sobre las FoliasIII. Arcangelo Corelli (1653-1713)Folias (1700). Opus 5, RomeIV. Marin Marais (1656-1728)Couplets de Folies (1701)

Informació

en Julio & Agosto 1998 en Sau Studio Fondation Tibor Varga à Sion (Suisse) & en septembre 1998 en l’église Saint Hippolyte à Castres (France).

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Description

After years of playing the various Folias by Diego Ortiz, Antonio de Cabezón, Antonio Martín y Coll, Arcangelo Corelli and Marin Marais, it became clear to us that there were certain links between the origin and evolution of the important art of musical improvisation and variation and the viola da gamba, or bass viol, itself.

In fact, it is no mere coincidence that, throughout the 16th century, and in places as different as France (Adrian Le Roy, 1551), Italy (Vicenzo Ruffo, 1564) and Germany (Matthäus Waissel, 1573), we find references in the various manuscripts and printed documents to the term “gamba”, used as a synonym for “Folia”.
Throughout the 16th and 17th centuries, and long before the appearance of the violin, the bass viol was the most widely used bowed instrument for improvisation on a basso ostinato. According to the various treaties and historical references (Diego Ortiz, Aurelio Virgiliano, Christopher Simpson, André Maugars, etc..), a good musician should be able to carry out and improvise variations on a song, a theme or a bass continuo during a concert or any other musical performance (see Maugars, 1638). In the case of creative a creative genius such as Ortiz, Cabezón, Martín y Coll, Corelli or Marais, improvisation blossomed into masterpiece.

This aim of this CD is therefore to bear witness to an art which contributed so much to the evolution of the language of instrumental music.

JORDI SAVALL
Paris. Autumn 1998