| 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) |
|||