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Ortiz, Hume, Hely, Bertalotti : Ricercars et Canzoni pour viole de gambe. Cicchitti.
Format : 1 CD
Total Time : 00:51:12

Recording : 01/08/2021
Location : Santa Maria Imbaro
Country : Italie
Sound : Eglise / Stereo

Label : Challenge Classics
Catalog No. : CC72918
EAN : 0608917291827
Price Code : DM019A

Publishing Year : 2022
Release Date : 14/09/2022

Genre : Classical
Diego Ortiz (?1510-?1570)
Tratado del glosas
Recercada n° 1, Livre 2
Recercada n° 2, Livre 2
Recercada n° 3, Livre 2
Recercada n° 4, Livre 2

Capitaine Tobias Hume (1569-1645)
The First Part of Ayres, French, Pollish and others together… with Pavines, Galliards, and Almaines
A galiard
Love's Almayne
A toy
A merry meeting
The spirit of the almayne
My mistresse almaine

Benjamin Hely (?-?1699)
The complete violist
Psalm 100 & Psalm 92
Mineut
Ayre slowtime
Bourrée

Angelo Michele Bertalotti (1666-1747)
Regole facilissime per apprendere con facilita e prestezza li canti fermi e figurato
Ricercare Primo per contralto
Ricercare Secondo per contralto
Ricercare Terzo per contralto
Ricercare Quarto per contralto
Ricercare Quinto per contralto
Ricercare Sesto per contralto
Ricercare Settimo per contralto
Ricercare Ottavo per contralto
Ricercare Nono per contralto
Ricercare Decimo per contralto
Ricercare Primo per soprano
Ricercare Terzo per soprano
Ricercare Quarto per soprano
Ricercare Sesto per soprano
Ricercare Settimo per soprano
Ricercare Ottavo per soprano
Ricercare Nono per soprano
Ricercare Decimo per soprano
Ricercare Decimo per soprano

Matteo Cicchitti, viole de gambe

The absolute protagonist of this recording is the solo viola da gamba which guides us on a musical journey from 1553 (Tratado de glosas by Diego Ortiz) to 1698/99 (Ricercare per diversi toni by Angelo Michele Bertalotti and The Complete Violist by Benjamin Hely). In so doing, it puts us in touch with a repertoire that may not be universally known, but still deserves to be discovered. Above all, it must be disclosed because it gives tangible testimonies that partially rectify some deep-rooted convictions about the viola da gamba. In fact, contrary to what is often believed, after blossoming in the Renaissance, this instrument did not leave the stage ex abrupto in the mid-17th century, crushed beneath the increasing weight of the cello. Instead, it continued to enjoy its own literature, certainly less striking but not less relevant. We are referring not only to the better-documented compositions for consort, but also to the solo repertoire which frequently had didactic and artistic value - often characterized by chamber allure due to its reserved nature.

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ClicMag n°107 - 09/2022
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