Songs Without Words
‘Crossover Music’ in the Seventeenth Century
Lucas Harris, theorbo & baroque guitar
Carlene Stober, viola da gamba
 
 
  The seventeenth century saw a new separation between vocal and instrumental music genres. However, this international program explores areas where the two spheres overlap in a new arena of cantabile expressivity: instrumental music inspired by vocal models, including sinfonias, grounds, and movements from suites/sonatas, as well as outright transcriptions of vocal music. The viol’s unique gift to rival the human voice in expressivity meets the kaleidoscope of strummed and plucked colors available to the theorbo and guitar.  
 
 
  Bergamasca
Passagallo
Ruggiero
  Improvised /
Giovanni Battista Vitali (1632-1692)
 
* * *
  Sinfonia à 2   Francesco Corbetta (1615-1681)  
* * *
  Capritio quarto   Vitali  
* * *
  From L’Echo du Danube
  Aria (Largo) – Allegro
  Johann Schenck (1656-1712)  
* * *
  Suite from Thésée
  Ouverture
  Second air [de Bachus] (Minuet)
  Premier air pour l’entrée triomphante de
    Thésée (Marche)

  Second air [pour les vieillards]
  Deuxième air des démons
  Air [des bergères] (Minuet)
  ‘Ah, faut-il me vanger’ (Medée)
  Second air (Chaconne)
  Jean-Baptiste Lully (1632 - 1687)
arr. Lucas Harris
 
* * *
  From Suite en ré majeur:
  Plainte – Chaconne
  Marin Marais (1656-1728)  
* * *
  Suite from The False Consonances of Musicke
  Prelude – Aria – Jig – Aria – Jig
  Nicola Matteis (ca.1650-ca.1710)  
* * *
  Be Welcome Then Great Sir
Crown the Altar
  Henry Purcell (1659-1695)  
* * *
  Fandango
Variations in D major
  Santiago de Murcia (ca.1685 - ca.1732)
Henry Butler (aka Enrique Bottelero, ca.1600-1652)
 
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