Evangelina Mascardi, Frédéric Zigante, Cornelia Demmer – Lassus: Io ti vorria contar… Transcriptions for Lute (2023) [Official Digital Download 24bit/96kHz]

Evangelina Mascardi, Frédéric Zigante, Cornelia Demmer – Lassus: Io ti vorria contar… Transcriptions for Lute (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:48 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Musique en Wallonie

In that apogee of polyphonic vocal music, the 16th century, Roland de Lassus (Mons c. 1532-Munich 1594) is pre-eminent. So famous was he that by the time he was 34, Samuel Quickelberg had already written the biography of “the more than divine Orlando”, as the poet Ronsard called Lassus, and as early as 1560 had praised the fact that he regarded music and words as of equal importance. But beyond his mastery of polyphonic language, what clearly characterises Lassus is his ability to feel at home in all styles whether secular or sacred, serious or light-hearted. His impressive oeuvre, confined to the vocal domain, reveals a conception of music, which had long been cloistered and hierarchical. But the lute is an exceptional instrument with numerous special advantages: it is convenient to handle, easily transported, and able to play alone to accompany music in several parts at once; it can accompany singing or fit easily into ensembles. Thanks to its polyphonic capabilities, the lute can combine separately printed voice parts into vocal editions. Being the instrument of musical synthesis, the lute points the way to the development of instrumental music. In the Renaissance, lute music is divided into three groups: dance music, polyphonic vocal works in tablature form, and freer forms of music (fantasias or ricercars) often based on the same contrapuntal rules as vocal music. The recital in this CD illustrates all these different genres.

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Evangelina Mascardi – Lassus Io ti vorria contar… Transcriptions for Lute (2023) [24Bit-96kHz] FLAC [PMEDIA] ⭐️

Evangelina Mascardi - Lassus Io ti vorria contar... Transcriptions for Lute (2023) [24Bit-96kHz] FLAC [PMEDIA] ⭐️ Download

Evangelina Mascardi – Lassus: Io ti vorria contar… Transcriptions for Lute (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:48 minutes | 1,00 GB | Genre: Classique
Studio Masters, Official Digital Download | Digital Booklet, Front Cover

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Evangelina Mascardi – Milano Spagnola. Para tecla y vihuela (2020) [Official Digital Download 24bit/96kHz]

Evangelina Mascardi – Milano Spagnola. Para tecla y vihuela (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:21 minutes | 1,25 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Arcana

Antonio de Cabezón travelled across Europe visiting Milan in 1548 and his music influenced the great European composers. Contrary to keyboard instruments, lute and vihuela already have a vast repertoire in print. The combination of a keyboard instrument (tecla) with the vihuela (called ‘viola da mano’ in Italy) is common in the sources of Spanish influence of this period, which often bear the indication ‘para tecla y vihuela’. Evangelina Mascardi and Maurizio Croci, established soloists on the international early music scene, explore the affinities, the contrasts and, in the words of an enthusiastic chronicler of the time, the ‘unheard of imitations’ that arise from the dialogue between the two instruments.

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Evangelina Mascardi – Laurent de Saint-Luc: Pièces pour luth (2018) [Official Digital Download 24bit/88,2kHz]

Evangelina Mascardi – Laurent de Saint-Luc: Pièces pour luth (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:02:02 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Musique en Wallonie

Laurent de Saint-Luc was born in 1669 into a family of musicians. The reputation of his father, Jacques de Saint-Luc, had gone beyond the borders of the Spanish Netherlands: he was known all the way to Paris – where, in 1647, he performed as a theorbist at the Chapelle Royale. While Saint-Luc’s father was attached to the Chapelle Royale in Brussels from 1639 to 1683, Laurent never appeared among the court musicians. Perhaps we can deduce from this that from 1691, the son was no longer in the southern Low Countries. In addition to no position at the court being forthcoming, the political situation could have led him to leave Brussels, as the League of Augsburg had turned the region into a battlefield – in 1695, a bombardment destroyed two thirds of Brussels. Although France was an enemy, Saint-Luc made for Paris and stayed there a while, and several pieces seem to confirm his presence there in this period: L’Arioste moderne refers to a work by Mme Gillot de Beaucour dating from 1685; La Belle au bois dormant to Perrault’s 1696 fairytale. It was in Amsterdam that his Suites pour le luth avec un dessus et une basse ad libitum, appeared, the Livre premier in 1709, and theLivre second in 1710, but we have nothing which allows us to confidently pinpoint the composer’s whereabouts at those dates. The latest historical event to which his compositions refer (they are often very descriptive: The Defeat of the French by the Germans Before Turin, The Taking of Barcelona, etc.) is the taking of Lille, in October 1708. And after that… a mystery. Thereafter, the composer generally sticks to traditional forms, but which he can still renew, not just prefacing his allemandes with unexpected preludes, but even giving them overtures or a march, while substituting for sarabande and gigue with pieces like Pour endormir l’enfant or Pastorelle. A shiny and new ancient composer, then, and the silvery lutist Evangelina Mascardi gives an intense and tender reading.

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Evangelina Mascardi – Bach: Complete Lute Works (2022) [Official Digital Download 24bit/96kHz]

Evangelina Mascardi - Bach: Complete Lute Works (2022) [Official Digital Download 24bit/96kHz] Download

Evangelina Mascardi – Bach: Complete Lute Works (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:50:48 minutes | 2,11 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Arcana

The seven compositions commonly called works for lute by Johann Sebastian Bach, despite more than a century of studies, do not seem to want to completely reveal the mystery of their birth, of their real instrumental destination and of Bach’s decidedly abstract concept of the instrument, the lute, which in its latest evolution continued after almost three centuries of glory to attract the attention of the highest musical lineage. The mystery did not distance the interpreters from these compositions, which Bach did not collect in a single cycle, as he did for the works for solo violin and cello, and indeed it has made them perhaps more stimulating, especially if we consider that in the turn of seventy years the lute was destined to disappear from the music scene. There are moments in which, to discover or define who we are, we must confront ourselves with the unknown.
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