Giovanni Battista Dalla Gostena (?1540-1615)
25 Fantaisies pour luth (arr. pour guitare)

Eliot Simpson, guitare

Né à Gênes en 1558, Giovanni Battista Dalla Gostena fut l'élève du flamand Philippe de Monte (1521-1603) actif à la cour de Maximilian II (Vienne). Maître de chapelle à la cathédrale San Lorenzo de Gênes, Dalla Gostena compose plusieurs recueils de madrigaux (1571–1582) et de la musique sacrée. Ses Fantaisies pour luth furent publiées en 1593 par son neveu Simone Molinaro, lui aussi luthiste et compositeur. Elles montrent une grande connaissance de l'instrument, suffisante pour adapter la polyphonie complexe du madrigal à la technique digitale du luth. Elliot Simpson, par ailleurs friand de créations d’œuvres contemporaines (Lucier, Polansky) a choisi la guitare pour interpréter ces 25 pièces diverses d'ambiances. Apaisées (VI) placides (V) enjouées (IX, XII) en imitation (VII) ou fuguées (IV) elles résistent assez bien à une écoute prolongée, portées par la finesse de doigté du guitariste américain. (Jérôme Angouillant)

A short-lived but prodigiously gifted Genovese musician of the 17th century rediscovered. Better known now as the teacher of his nephew Simone Molinaro, one of the more important Italian composers of the post- Renaissance era, Giovanni Battista Dalla Gostena is worth knowing in his own right. Born early in the 1540s in Genova, he studied with the renowned Flemish polyphonist Philippe de Monte, composer to the Viennese court of Maximilian II, and he followed de Monte’s example by composing several volumes of sacred and secular vocal music during the 1570s and 80s before he was apparently murdered in 1593 (there are also records of a funeral Mass held for him five years later). It is through his nephew that we now know Dalla Gostena best, through this volume of lute fantasias posthumously published by Molinaro, and in affecting tribute to the memory of his uncle. A leading figure in the musical life of his home city, Dalla Gostena wrote in a conservative but beautifully wrought style. These fantasias make extraordinary demands upon the performer, due in no small part to the complex polyphony borrowed from his madrigals and masses. They belong to the repertoire of every skilled lutenist but they are very rarely recorded as a collection, making Elliott Simpson’s new album an essential acquisition for collectors of Renaissance music on record. Born in 1987, this American guitarist has worked with leading composers of our own time such as Sofia Gubaidulina, Alvin Lucier and Michael Finnissy, but he also has an abiding interest in and thorough understanding of the Renaissance-era music which establishes the underlying elements and principles of modern guitar repertoire.