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Luca Pianca – The Art of Resonance: Archlute & Theorbo Music of the Italian Seicento (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:51 minutes | 1,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
At the beginning of the 17th century, music in Italy underwent a radical change. From the first experimental attempts in Florence to revive the musical practice of Greek antiquity, which had not been handed down in detail, the genre of the monody developed, in which the singer could finally express all the nuances of the text (the “affects”), freed from the strict constraints of polyphony. To accompany this monophonic singing, new types of plucked instruments emerged, such as the archlute and the theorbo, characterised especially by their powerful bass registers and intense resonances. The new expressive demands invited playing with timbres, (de)crescendi and agogics to convincingly portray human passions, elements that were also applied to purely instrumental music, as in the works on this recording. The rigour of polyphony gave way to a style based more on improvisation, an aspect particularly important to Luca Pianca in his interpretation of solo works for archlute and theorbo by Piccinini, Kapsberger, Melli and Raimondo.
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Luca Pianca – The Art of Resonance: Archlute & Theorbo Music of the Italian Seicento (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:51 minutes | 1,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
At the beginning of the 17th century, music in Italy underwent a radical change. From the first experimental attempts in Florence to revive the musical practice of Greek antiquity, which had not been handed down in detail, the genre of the monody developed, in which the singer could finally express all the nuances of the text (the “affects”), freed from the strict constraints of polyphony. To accompany this monophonic singing, new types of plucked instruments emerged, such as the archlute and the theorbo, characterised especially by their powerful bass registers and intense resonances. The new expressive demands invited playing with timbres, (de)crescendi and agogics to convincingly portray human passions, elements that were also applied to purely instrumental music, as in the works on this recording. The rigour of polyphony gave way to a style based more on improvisation, an aspect particularly important to Luca Pianca in his interpretation of solo works for archlute and theorbo by Piccinini, Kapsberger, Melli and Raimondo.
(more…)
Luca Pianca – Narcisse au Parnasse: Works for Lute and Theorbo from the French “Grand-Siècle” (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:33 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
In this recording Luca Pianca explores the enchanting world of 17th-century French music. He introduces the listener to the unique and refined musical style of the Grand Siècle, where the lute and theorbo reigned supreme.
Ennemond Gautier le Vieux, a notable lutenist and composer, left an indelible mark on the French lute tradition of the time. His work laid the groundwork for future musicians, including luminaries like Robert de Visée, who would go on to craft their own musical masterpieces.
The timeless elegance of these compositions perfectly illustrates the glorious musical landscape of 17th-century France.
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Roberta Mameli, Luca Pianca – Anime Amanti (2017)
FLAC (tracks) 24 bit/176,4 kHz | Time – 01:08:14 minutes | 2,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
A voice, a lute, a sigh. Nothing could be simpler and more immemorial. This expression of sentiments and emotions, of the intermittencies of the heart and the shadows of the soul, is of course as old as the world. Yet it was truly a reconquest of the Renaissance. With Caccini, the ‘new music’ at once found a miraculous melodist. He composed a Euridice, performed in 1602, two years after Jacopo Peri’s setting and five years before Monteverdi’s Orfeo. The Renaissance did not know opera, but long secreted that genre soon to be born. And it is brand-new opera that opens and closes this recording, through the voice of its first visionary, Claudio Monteverdi. His Lamento d’Arianna, the centrepiece of a lost work, expresses sorrow, regrets, revolt through the very music of the Italian language, here brought to white heat. The ‘new music’ spread throughout Italy: Merula in Cremona, Falconieri in Naples, and Barbara Strozzi, the most famous woman composer of the age, in Venice. The Italian soprano Roberta Mameli is a great lover of this music, which she performs with an outstanding feeling for words and drama. Luca Pianca offers her his artistry and his great experience.
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Luca Pianca – Nobilissimo Istromento: Virtuoso Lute Music of the Italian Renaissance (2021)
FLAC (tracks) 24 bit/192 kHz | Time – 01:09:51 minutes | 2,68 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Passacaille
The Italian Renaissance is the golden age of the lute; in quality and quantity, the lute pieces from this period are comparable to the piano works of the 19th century.
Most of the works selected for this recording are by Francesco da Milano, an extraordinary virtuoso and gifted composer who was also known as “Il Divino” (the Divine), an epithet he shared with Michelangelo and Monteverdi.
In addition to lute pieces by da Milano, the recording also includes other equally outstanding works by contemporaries, among them some of the Milanese’s pupils.
Thanks to this selection, it is easy to comprehend still today why the lute was considered the noblest instrument of all in the 16th century: Il nobilissimo istromento.
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Anna Lucia Richter, Ensemble Claudiana & Luca Pianca – Il delirio della passione (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:23 minutes | 1,28 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone
Punctuated by the tambourines which now appear to be inevitable on all recordings of Baroque music, this “Delirio della passione” (Delirium of passion) flies the colours of eroticism, both figuratively, and literally, on the image on the cover. This recital by soprano Anna Lucia Richter, at ease with Mahler as with seventeenth-century Italian opera, is devoted to a good dozen secular pieces by Monteverdi from his operas and cycles of love madrigals. Conducting the Claudiana Ensemble while playing his instruments (archluth, theorbo, chitarrone), Luca Pianca makes this music twirl, and gives it the character of a frantic dance. A whole theatre of amorous passions is represented here. It is an expression of a burning sensuality in search of multicultural connections. After all, the Venice of these days looked to the East. – François Hudry
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