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Rolf Lislevand - Diminuito download mp3 album

Rolf Lislevand - Diminuito download mp3 album
Performer:
Album:
Diminuito
Style:
Renaissance
Released:
2009
Country:
Germany
FLAC vers. size:
1641 mb
MP3 vers. size:
1963 mb
WMA vers. size:
1815 mb
Other formats
AC3 DTS AU DTS MPC ASF MP2
Rating:
4.2 ★
Votes:
655

Rolf Lislevand (30 December 1961 in Oslo, Norway), is a Norwegian performer of Early music specialising on lute, vihuela, baroque guitar and theorbo. From 1980 to 1984, Lislevand studied classical guitar at the Norwegian Academy of Music. In 1984 he entered the Schola Cantorum Basiliensis in Switzerland, under the tutelage of lutenists Hopkinson Smith and Eugen Dombois up to 1987 when he moved to Italy

The album title Diminuito refers to the praxis of virtuosic ornamentation of vocal lines, the diminution of larger rhythmic and harmonic units in most agile runs, scales and arpeggi. The album was recorded in St. Gerold with line-up including the delightful sopranos of Anna Maria Friman and Linn Andrea Fuglesth. To my way of thinking, reconstructions are fairly boring. Do we really want to pretend that nothing happened in music between 1550 and today? I think that would be intellectually dishonest. And the notion that people did not deal freely with their feelings until today is not only.

Offer, Rolf Lislevand - Diminuito. Rolf Lislevand Ensemble. BBC Music Magazine, April 2010, Mor. elease Date: 2nd Nov 2009. Catalogue No: 4763317. Label: ECM. Series: New Series.

More Rolf Lislevand Ensemble. Listen to Diminuito now. Listen to Diminuito in full in the this site app. Play on this site. ℗ 2009 ECM Records GmbH.

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Artist: Rolf Lislevand Ensemble. Album: Diminuito, Diminuito. Download Rolf Lislevand Ensemble - Piva. Diminuito: Best 2 songs. Rolf Lislevand Ensemble - Tourdion 04:15. Rolf Lislevand Ensemble - Vestiva i colli, Recercada quinta 06:30. Rolf Lislevand Ensemble: best 2 tracks. Rolf Lislevand Ensemble - Tourdion Diminuito, 2009 04:15. Rolf Lislevand Ensemble - Passacaglia cantata Nuove Musiche, 2006 04:13. Artist: Rolf Lislevand Ensemble.

Tracklist Hide Credits

1 Ricercata Prima
Written-By – Vincenzo Capirola
5:02
2 Saltarello
Written-By – Joan Ambrosia Dalza
2:35
3 Piva
Written-By – Joan Ambrosia Dalza
3:57
Petit Jacquet / Quinta Pars (9:43)
4a Petit Jacquet
Written-By – Giovanni Antonio Terzi
4b Quinta Pars
Written-By – Diego Ortiz
5 La Perra Mora
Written-By – Anonymus*
4:26
Susanne Un Jour / Recercada Settima (10:15)
6a Susanne Un Jour
Written-By – Giovanni Antonio Terzi
6b Recercada Settima
Written-By – Diego Ortiz
Canon / La Spagna / Passamezzo Gaillard / Recercada Segunda (6:09)
7a Canon
Written-By – Francesco Da Milano*
7b La Spagna
Written-By – Francesco Da Milano*
7c Passamezzo Gaillard
Written-By – Thomas Robinson
7d Recercada Segunda
Written-By – Diego Ortiz
8 Fantasía Que Contrahaze La Harpa En La Manera De Ludovico
Written-By – Alonso Mudarra
5:14
Vestiva I Colli / Recercada Quinta (6:30)
9a Vestiva I Colli
Written-By – Giovanni Antonio Terzi
9b Recercada Quinta
Written-By – Diego Ortiz
10 Tourdion
Written-By – Anonymus*
4:15

Companies, etc.

  • Phonographic Copyright (p) – ECM Records GmbH
  • Copyright (c) – ECM Records GmbH
  • Manufactured By – Universal Music Classical
  • Marketed By – Universal Music Classical
  • Distributed By – Universal Music Distribution
  • Recorded At – Propstei St. Gerold

Credits

  • Arranged By [All Arrangements By] – Rolf Lislevand
  • Clavichord, Organ – Michael Behringer
  • Design – Sascha Kleis
  • Engineer [Tonmeister] – Markus Heiland
  • Guitar [Chitarra Battente], Vihuela [Vihuela De Mano], Lute [Lutes] – Thor-Harald Johnsen
  • Harp [Triple Harp] – Giovanna Pessi
  • Liner Notes – Rolf Lislevand
  • Liner Notes [Übersetzung] – Kerstin Braun
  • Lute [Colascione] – Bjørn Kjellemyr
  • Lute [Lutes], Vihuela [Vihuela De Mano] – Rolf Lislevand
  • Nyckelharpa – Marco Ambrosini
  • Percussion – David Mayoral
  • Photography By [Cover Photo] – Jean-Guy Lathuilière
  • Photography By [Liner Photos] – Roberto Masotti
  • Producer [Produced By] – Manfred Eicher
  • Voice – Anna Maria Friman, Linn Andrea Fuglseth

Notes

Recorded October 2007 and May 2008
Propstei St. Gerold

An ECM Production

℗ 2009 ECM Records GmbH
© 2009 ECM Records GmbH

Barcode and Other Identifiers

  • Barcode (Printed): 0 28947 63317 4
  • Barcode (Scanned): 028947633174
  • Matrix / Runout: DIDX-241009 1
  • Mastering SID Code: IFPI L328
  • Mould SID Code: IFPI 7266
  • SPARS Code: DDD
  • Label Code: LC 02516

Other versions

Category Artist Title (Format) Label Category Country Year
ECM 2088, 476 3317, ECM New Series 2088 Rolf Lislevand Diminuito ‎(CD, Album, O-c) ECM Records, ECM Records, ECM New Series, ECM New Series ECM 2088, 476 3317, ECM New Series 2088 Germany 2009
  • Brakree
Stephen Eddins has effectively hit on all the important points of this recording. Let me just add that this is a recording of exquisite beauty, and it has brought me to tears many times while hearing it. It is sublime.
  • Kage
Review by Stephen EddinsNorwegian lutenist Rolf Lislevand's approach to authentic period performance practice might seem like heresy to the orthodox; he asserts that since we cannot know with certainty how a particular piece of early music was originally performed, the modern performers' goal is not to go to all lengths to try to duplicate an "authentic" performance, but to bring all of their skill, study, and insight to the music and create a personally honest interpretation, even if that means relying more on the performers' intuition than on the written source. He persuasively points to research into Renaissance performance practice that indicates that that was precisely the approach taken by players of the period when performing music of earlier eras. For Lislevand, the fact that the solutions devised by a contemporary performer might bear little resemblance to those devised by Renaissance performers is an inevitability to be celebrated, not lamented. The sixteenth century songs and dances, mostly Italian, Lislevand and his ensemble of instrumentalists and singers perform never lose their identity as products of the Renaissance, but there is a freedom in their performances that sets them apart from the usual. Each piece, no matter how straightforward it might look on paper, is surrounded by a halo of percussion, strings, and voices, sometimes in the foreground, but sometimes barely audible. There is a sense of a community of performers, like a well-oiled improvising jazz group, always listening and thinking, ready to jump into the mix when the musical moment is right, and the result is often exhilarating. Lislevand in fact reveals that at the recording sessions, producer Manfred Eicher would signal for the group to continue playing after a piece was officially complete, and that these free improvisations were the source of exciting musical discoveries that were incorporated into later performances. ECM's sound is characteristically immaculate and immediate; in fact, for some listeners it may be too close, because ancillary instrumental sounds and the players' breathing are often audible. This intriguing and viscerally engaging album should be of interest to fans of early music and to anyone who appreciates intelligent, exciting improvisation.