|
Walvis2007
We invite you to see a new highlight from our Concert two weeks ago in SF: the Toccata Arpeggiata of Kapsberger, performed on the theorbo by David Tayler. Tante Cose!
(1 day ago)
The Toccata Arpeggiata from Johann Kapsberger's Book I (Venice, 1604). Performed on the theorbo by David Tayler. Live video from the SF based Early...
more
The Toccata Arpeggiata from Johann Kapsberger's Book I (Venice, 1604). Performed on the theorbo by David Tayler. Live video from the SF based Early Music Ensemble Voices of Music, from the Great Artists Series 2012.
Musicological Notes:
My reconstruction of the style of playing the lute in the first decade of the 17th century is based on a study of the many different musical genres from the time, including the keyboard and lute toccatas, the violin sonatas and the wide variety of vocal music, including the Littera Amorosa. Early keyboard and lute music reveals a dizzying array of arpeggiation patterns, with very few written-out works that use a relentless or uniform approach. Another feature of this early 17th century style is that the music almost always has contrasting sections, and this feature is present in both vocal and instrumental works. Chord patterns, arpeggios and melodic fragments are combined to form these sections, as well as provide small ritornellos. Echo, piano and forte effects, which were just starting to be used (Monteverdi, 1607) are added with gradations, within the small but present dynamic range of the lute.
Literary influences for my interpretation center around the poetical forms in vogue 1600-1610, including the sonnet and especially the freer and rhythmically complex form of Gabriello Chiabrera: rhymes, lines, line breaks, chiasmus and caesuras are woven into the musical fabric.
Lastly, my approach tries to recreate a more improvisatorial style that provides a kind of musical antecedent to the unmeasured preludes of Chambonnieres, as I imagine that such a style must have existed in order for later composers to imitate it. There are many ways to interpret Kapsberger, and I hope to see many more versions by my colleagues.
Theorbo 82cm by Andreas von Holst, Munich.
less
|
|
| |
|
|
|
|
| |
|
|
Walvis2007 uploaded a new video
(1 day ago)
The Toccata Arpeggiata from Johann Kapsberger's Book I (Venice, 1604). Performed on the theorbo by David Tayler. Live video from the SF based Early...
more
The Toccata Arpeggiata from Johann Kapsberger's Book I (Venice, 1604). Performed on the theorbo by David Tayler. Live video from the SF based Early Music Ensemble Voices of Music, from the Great Artists Series 2012.
Musicological Notes:
My reconstruction of the style of playing the lute in the first decade of the 17th century is based on a study of the many different musical genres from the time, including the keyboard and lute toccatas, the violin sonatas and the wide variety of vocal music, including the Littera Amorosa. Early keyboard and lute music reveals a dizzying array of arpeggiation patterns, with very few written-out works that use a relentless or uniform approach. Another feature of this early 17th century style is that the music almost always has contrasting sections, and this feature is present in both vocal and instrumental works. Chord patterns, arpeggios and melodic fragments are combined to form these sections, as well as provide small ritornellos. Echo, piano and forte effects, which were just starting to be used (Monteverdi, 1607) are added with gradations, within the small but present dynamic range of the lute.
Literary influences for my interpretation center around the poetical forms in vogue 1600-1610, including the sonnet and especially the freer and rhythmically complex form of Gabriello Chiabrera: rhymes, lines, line breaks, chiasmus and caesuras are woven into the musical fabric.
Lastly, my approach tries to recreate a more improvisatorial style that provides a kind of musical antecedent to the unmeasured preludes of Chambonnieres, as I imagine that such a style must have existed in order for later composers to imitate it. There are many ways to interpret Kapsberger, and I hope to see many more versions by my colleagues.
Theorbo 82cm by Andreas von Holst, Munich.
less
|
|
| |
|
|
Walvis2007
Our latest video from our Great Artists Series~Enjoy the fireworks!
(1 week ago)
Johann Schmelzer's Sonata Quarta in D Major from Sonatae Unarum Fidium (1664). Live video from the Voices of Music Great Artists Series in San Fran...
more
Johann Schmelzer's Sonata Quarta in D Major from Sonatae Unarum Fidium (1664). Live video from the Voices of Music Great Artists Series in San Fransisco. Featuring Elizabeth Blumenstock, baroque violin; William Skeen, viola da gamba; Hanneke van Proosdij, baroque organ, and David Tayler, theorbo. One of the finest examples of the early baroque German sonatas for violin and continuo, the Sonata Quarta of Johann Schmelzer combines florid passagework with harmonic and contrapuntal ingenuity. A ground bass connects each of the varied movements, and the work concludes with a virtuosic cadenza over a pedal point. Considered one of the finest violinists in world in 1660, Schmelzer published a collection of his solo sonatas of 1664; these are some of the most important works for the violin in the 17th century. The sonatas are Italianate in style, and set the stage for subsequent works of Biber and Bach.
less
|
|
| |
|
|
Walvis2007 uploaded a new video
(1 week ago)
Johann Schmelzer's Sonata Quarta in D Major from Sonatae Unarum Fidium (1664). Live video from the Voices of Music Great Artists Series in San Fran...
more
Johann Schmelzer's Sonata Quarta in D Major from Sonatae Unarum Fidium (1664). Live video from the Voices of Music Great Artists Series in San Fransisco. Featuring Elizabeth Blumenstock, baroque violin; William Skeen, viola da gamba; Hanneke van Proosdij, baroque organ, and David Tayler, theorbo. One of the finest examples of the early baroque German sonatas for violin and continuo, the Sonata Quarta of Johann Schmelzer combines florid passagework with harmonic and contrapuntal ingenuity. A ground bass connects each of the varied movements, and the work concludes with a virtuosic cadenza over a pedal point. Considered one of the finest violinists in world in 1660, Schmelzer published a collection of his solo sonatas of 1664; these are some of the most important works for the violin in the 17th century. The sonatas are Italianate in style, and set the stage for subsequent works of Biber and Bach.
less
|
|
