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Product details
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Track Listings
| 1. Arpeggiata Addio (After Giovanni Girolamo Kapsberger) |
| 2. Passacaglia Antica 1 (After Domenico Pellegrini) |
| 3. Passacaglia Andaluz I |
| 4. Passacaglia Antica 2 (After Domenico Pellegrini) |
| 5. Passacaglia Cromatica |
| 6. Passacaglia Antica 3 (After Domenico Pellegrini) |
| 7. Passacaglia Cantus Firmus (After Luys de Narváez) |
| 8. Passacaglia Celtica (After the Margaret Board Lute Book, Ca. 1620-1635) |
| 9. Passacaglia Spontanea |
| 10. Passacaglia Andaluz II |
| 11. Toccata (After Giovanni Girolamo Kapsberger) |
| 12. Passacaglia Cantata (After Girolamo Frescobaldi) |
| 13. Corrente (After Bernardo Gianoncelli) |
| 14. Corrente (After Giovanni Girolamo Kapsberger) |
| 15. Toccata (After Alessandro Piccinini) |
| 16. Ciaccona (After Alessandro Piccinini) |
| 17. Toccata Cromatica (After Alessandro Piccinini) |
Product Description
From the Label
Born in Oslo in 1961, Rolf Lislevand is a virtuoso of the lute and Baroque guitar: the beautifully recorded, programmed and packaged Nuove Musiche (New Music) is his first release on ECM. A highly regarded practitioner, Lislevand has been professor of lute and historical performance at Trossingen Musikhochschule since 1993. He has a particular take on his subject: namely, that today’s performers of early music--the origins of the material on this release lie in seventeenth-century Italy and Spain--should build on the quality of freshness of extemporisation, or improvisation, which originally distinguished much of that music. So it’s not surprising that, together with the sounds of harp and clavichord, organ and Baroque guitar, the diversely layered and refreshingly conceived soundscapes conjured by Lislevand’s seven-piece group include the bass lines of Bjørn Kjellemyr, the excellent Norwegian improviser who will be familiar to many ECM enthusiasts through his work with guitarist Terje Rypdal. Tracks like "Passacaglia cantata" and "Corrente" swing in the most subtle and engaging manner: fresh points of contact, sometimes Celtic in nature, are developed between the elegantly turned frameworks of the original pieces by Kapsberger, Pellegrini, Frescobaldi and others and a good deal of the breadth and depth of musical and poetic resource one associates with today’s musical climate. At times, one senses distant echoes of the reverie-rich world of guitarist Ralph Towner; at other moments, the spirit of a contemporary flamenco master like Vicente Amigo seems to enter the music, as in the two driving "Passacaglia andaluz" pieces especially. Arianna Savall’s pure and sparely employed soprano voice brings an extra, haunting dimension to several tracks, while Pedro Estevan’s delicate yet purposeful percussion is a delight throughout. Just over a decade ago, ECM released Officium, the million-plus seller which melded the early music vocal polyphony of the Hilliard Ensemble with the improvisations of saxophonist Jan Garbarek. To my ears, the soulful, intelligently conceived and superbly interpreted Nuove Musichewhich comes complete with an extensive and illuminating sleevenote by Lislevand merits comparable success. Take a time-trip back to a future that is now: you won’t regret it. --Michael Tucker
Born in Oslo in 1961, Rolf Lislevand is a virtuoso of the lute and Baroque guitar: the beautifully recorded, programmed and packaged Nuove Musiche (New Music) is his first release on ECM. A highly regarded practitioner, Lislevand has been professor of lute and historical performance at Trossingen Musikhochschule since 1993. He has a particular take on his subject: namely, that today’s performers of early music--the origins of the material on this release lie in seventeenth-century Italy and Spain--should build on the quality of freshness of extemporisation, or improvisation, which originally distinguished much of that music. So it’s not surprising that, together with the sounds of harp and clavichord, organ and Baroque guitar, the diversely layered and refreshingly conceived soundscapes conjured by Lislevand’s seven-piece group include the bass lines of Bjørn Kjellemyr, the excellent Norwegian improviser who will be familiar to many ECM enthusiasts through his work with guitarist Terje Rypdal. Tracks like "Passacaglia cantata" and "Corrente" swing in the most subtle and engaging manner: fresh points of contact, sometimes Celtic in nature, are developed between the elegantly turned frameworks of the original pieces by Kapsberger, Pellegrini, Frescobaldi and others and a good deal of the breadth and depth of musical and poetic resource one associates with today’s musical climate. At times, one senses distant echoes of the reverie-rich world of guitarist Ralph Towner; at other moments, the spirit of a contemporary flamenco master like Vicente Amigo seems to enter the music, as in the two driving "Passacaglia andaluz" pieces especially. Arianna Savall’s pure and sparely employed soprano voice brings an extra, haunting dimension to several tracks, while Pedro Estevan’s delicate yet purposeful percussion is a delight throughout. Just over a decade ago, ECM released Officium, the million-plus seller which melded the early music vocal polyphony of the Hilliard Ensemble with the improvisations of saxophonist Jan Garbarek. To my ears, the soulful, intelligently conceived and superbly interpreted Nuove Musichewhich comes complete with an extensive and illuminating sleevenote by Lislevand merits comparable success. Take a time-trip back to a future that is now: you won’t regret it. --Michael Tucker
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