Various Artists - Di Martinelli Manuscript - COMPACT DISCS [CD]
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The so-called Di Martinelli Collection is preserved in the Catholic University of Leuven (Belgium), and contains a total of sixty-five manuscripts and thirty-two prints, including a remarkable manuscript with thirty-two late 17th-century violin sonatas from which the works on the present recording are taken. Collected in the manuscript are challenging pieces of various origins, whereby three regional focal points can be ascertained composers of Flemish-Netherlandish descent (Petersen, Goor), composers from South-German/Habsburg regions (Albicastro, Schmelzer, Pez, Wentzely, Finger and erroneously Biber) and several Italian composers (Cailò, Lonati, Capellini). All of the musicians on the present recording studied at the Schola Cantorum Basiliensis and represent a new generation in the field of historical musical practice, a generation which combines high technical mastery with curiosity for the historical fundamentals and joy in experimentation. Eva Saladin, Swiss-Dutch descent, is meanwhile one of the most renowned representatives of her generation on the baroque violin. The basso continuo team joining her for this project (Johannes Keller, Sebastian Wienand and Daniel Rosin) includes the use of two harpsichords, a practice that shows off fascinating possibilities in terms of sound and harmonic and figurative elaboration.
- GenreClassicalDescriptionThe so-called Di Martinelli Collection is preserved in the Catholic University of Leuven (Belgium), and contains a total of sixty-five manuscripts and thirty-two prints, including a remarkable manuscript with thirty-two late 17th-century violin sonatas from which the works on the present recording are taken. Collected in the manuscript are challenging pieces of various origins, whereby three regional focal points can be ascertained composers of Flemish-Netherlandish descent (Petersen, Goor), composers from South-German/Habsburg regions (Albicastro, Schmelzer, Pez, Wentzely, Finger and erroneously Biber) and several Italian composers (Cailò, Lonati, Capellini). All of the musicians on the present recording studied at the Schola Cantorum Basiliensis and represent a new generation in the field of historical musical practice, a generation which combines high technical mastery with curiosity for the historical fundamentals and joy in experimentation. Eva Saladin, Swiss-Dutch descent, is meanwhile one of the most renowned representatives of her generation on the baroque violin. The basso continuo team joining her for this project (Johannes Keller, Sebastian Wienand and Daniel Rosin) includes the use of two harpsichords, a practice that shows off fascinating possibilities in terms of sound and harmonic and figurative elaboration.ArtistVarious ArtistsTitleDi Martinelli ManuscriptFormatCDLabelGlossa
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Diminutions, the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody. In the 16th and early 17th centuries, a composition as written by the composer was often regarded as raw material and it was normal and even required of musicians to embellish the works performed. The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time. Most of these manuals included a collection of decorated melodies taken from renowned madrigals, motets and chansons by well-known composers of the time. These pieces give us clear examples of how music was performed during that time and what was considered the proper way to embellish a piece of music. Often technically demanding, these pieces gave scope for virtuoso display as they required great dexterity from the performer. In conclusion, diminutions were added to make a piece of music more 'beautiful'. This album explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms and finally, diminutions composed by the performer as artist.
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