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Early Music - Recorder Solo

Die Komponisten

Georg Ph. Telemann enriched the repertoire for the recorder with several jewels. He was considered a master in the realms of Baroque rhetoric and the teachings of “affect.” In the 12 Fantasies he succeeded in creating for flute a type of summary of the most important forms of his time, from Concerto to Recitative to Dance-Suite.

La Rosa Infloresce

La rosa infloresce en el mez de mars
i mi alma securese de estar en este mal.
Los biblicos cantan I sufren del amor.
I la passion los mata non miran mi dolor.

This song about a rose, which blooms in March, tells of the joys the passion and the pain of love. It belongs to the secular song tradition of the Sephardim, a Jewish sect, who originally stem from Spain and who were expelled in 1492. Their path extended to North-Africa into the Arabic countries, further on to Turkey, the Slavic countries and finally Italy. One can find in their music elements of Spanish, Arabic and Slavic influence.

Belicha is one of eight “ Estampien” from the 13th/14th century, whose original manuscript can be presently found in London. The subject here is improvised dance, one that was cultivated by French performance artists, the so-called Troubadours. Striking is the highly virtuosic treatment of the instrument of the time, which had a relatively small pitch range. Several strophes are featured, each with varying rhythmic motives. They conclude however with the same refrain.

Giovanni B. Bassano lived in Venice as composer and cornetto player. He was considered one of the city’s most highly regarded virtuosos, whereby numerous ornamental motets and madrigals, e.g. method books of ornamentation bear witness to his prodigious output. The better-known Giovanni Gabrieli was highly influenced by Bassano, particularly with respect to his instrumental works.

Jakob van Eyck, a blind man from birth, was a carillon player, recorder player and composer who lived in Utrecht. Among his duties were the public improvisations on known melodies of the time, mostly from Holland and England. He published these songs with variations in the collection Euterpe und Fluyten Lusthof.

Une jeune Fillette

Ma belle si ton ame se sent or´ allumer
De ceste douce flame qui nous force d´aymer.
Allons contans, allons sur la verdure
Allons tandis que dure notre jeune printemps.

“Une jeune Fillette”, also known as “La Monica”, is the lamentation of a young girl that was forced to become a nun. During the Renaissance this was a popular song and served as the basis for instrumental variations – whether it be harpsichord, guitar or ensemble - by such composers as Frescobaldi, Selma y Salaverde and Uccellini. In our time the melody has resurfaced, as it appears in the film by Gerard Dépardieu entitled “The seventh String.”

Ofrenda

Why does a splendid landscape,
Or the eyes of a friend, free me
As if I met with God in this world?

The Mexican composer Mario Lavista wrote “Ofrenda” in memorium for a dear friend, and therewith borrowed a tradition from the indigenous folk of having a flute melody intoned at a funeral – a kind of plaint song.

Carl Ph. E. Bach, from “The True Art of Piano Playing”:
“The components of a lecture are strength and weakness in tone, in short pressure, velocity, pulling, pushing, shaking, holding, schlepping, moving forward....wherein lies the quality of a good lecture however? Nothing less than the ability to project musical thoughts based on true content and effect singing or playing, ones that that appeal to the good senses of the listener.”

 

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