Catacoustic on CD
Allow yourself to be transported to the world of Renaissance jazz through the practice of the 16th-century improvisation and diminution. Many people associate jazz with the birth of creative free form improvisation in music. Actually, this was happening hundreds of years ago with instrumentalists and singers alike, where the musician and composer were partners in musical creation. Due to the extreme difficulty of the instrument and this repertory, there are currently no solo recordings available of this repertory on the treble viol. Experience this one-of-a-kind, unique experience in music by ordering the CD now. Only $15.00 plus shipping!*
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Music for Treble Viol and LuteAnnalisa Pappano, Treble viola da gamba
Ronn McFarlane, Lute Improvisation
- Ung gay bergier (2 versions) Giovanni Bassano (1584) after Crecquillon Richardo Rogniono (1592)
- Frais et gaillard Giovanni Bassano (1584) after Clemens non Papa
- Oncques amour Thomas Crecquillon (c. 1505-c. 1557) Giovanni Basssano (1553) after Thomas Crecquillon
- Ancor che col partire Giovanni Battista Bovicelli (c.1550) after Cipriano de Rore
- Ancor che col partire/Angelus ad pastores
- A Division Anonymous
- Susanne ung jour Giovanni Bassano (1584) after Roland de Lassus
- Vestiva i colli Francesco Rognioni Taeggio (fl. 1600)
- Vestiva i colli Bartolomeo de Selma e Salaverde (c. 1580-1640)
- Robin is to the greenwood gone Anonymous
- From Tratado de Glosas Diego Ortiz (1553)
- Recercada Quinta Diego Ortiz (1553)
- Recercada Segunda sopra “Dulce Memoire” Diego Ortiz (1553)
For the first time, you can experience the astonishing virtuosity of Ronn McFarlane and Annalisa Pappano as they re-create together this amazing and important style of performance.
In the 16th-century, the composer provided a framework, a musical skeleton with clues that were idiomatic to a shared artistic language. The musician knew when and where to add accidentals (ficta). The performer also had an understanding of text underlay. Instrumentation was up to the performer as well. Dynamics (loud and soft), articulations (smooth and soft notes), and other musical decisions were also left to the performer. Most importantly, musicians improvised by adding musical material.
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