℗ 2019 Glossa
 

Bella Incognita: The Imagination of Marco dall'Aquila

Lukas Henning

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1.1
Phrygian Ricercar
Marco dall’Aquila; Lukas Henning
2:04
1.2
La cara cossa
Marco dall’Aquila; Lukas Henning
2:04
1.3
La Santa Anna
Lukas Henning; Lukas Henning
3:33
1.4
Sesquialtera Ricercar
Marco dall’Aquila; Lukas Henning
3:48
1.5
Nous bergiers (After Clément Janequin)
Marco dall’Aquila; Lukas Henning
2:14
1.6
Frottolesca
Marco dall’Aquila; Lukas Henning
0:56
1.7
Priambolesca
Marco dall’Aquila; Lukas Henning
0:31
1.8
Dorian Ricercar
Marco dall’Aquila; Lukas Henning
3:28
1.9
La traditora
Marco dall’Aquila; Lukas Henning
2:00
1.10
Hypodorian Ricercar
Marco dall’Aquila; Lukas Henning
1:33
1.11
Hypolydian Ricercar
Marco dall’Aquila; Lukas Henning
1:47
1.12
Caelorum Regina Ricercar (After Josquin Desprez)
Marco dall’Aquila; Lukas Henning
1:22
1.13
Senza canto, sonata & mezana
Lukas Henning; Lukas Henning
1:30
1.14
Senza tenore, bordun & contrabasso
Lukas Henning; Lukas Henning
1:29
1.15
La cara cossa sul contrabasso
Marco dall’Aquila; Lukas Henning
2:34
1.16
Recercar de Maestro Marco da Laquila–caro–a–h–he
Marco dall’Aquila; Lukas Henning
1:34
1.17
Il est bel et bon (After Pierre Passereau)
Marco dall’Aquila; Lukas Henning
2:41
1.18
Senza canto
Marco dall’Aquila; Lukas Henning
2:32
1.19
La compagna della solfamifa
Lukas Henning; Lukas Henning
1:14
1.20
Solfamifa Ricercar
Marco dall’Aquila; Lukas Henning
4:19
1.21
Tocha tocha la canella
Marco dall’Aquila; Lukas Henning
1:06
1.22
La cara cossa sul tenore
Marco dall’Aquila; Lukas Henning
1:50
1.23
Fantasia de Maestro Marcho da Laquila
Marco dall’Aquila; Lukas Henning
3:28
1.24
La battaglia (After Clément Janequin)
Marco dall’Aquila; Lukas Henning
3:53
Digital Booklet
Total Playing Time    53:30
With lutenist Lukas Henning, Glossa unveils a striking new talent as he presents Bella incognita, a recital devoted to the enigmatic 16th-century Venetian composer Marco dall’Aquila, a musician frequently referred to in the sources but one who is difficult to characterize. With the increased use of the six-course instrument, writing for the lute became more polyphonic, with a greater level of complexity and frequently making use of existing musical works such as the chanson Il est bel et bon by Pierre Passereau; the system – called tablature – of graphically representing this complexity was introduced as the 16th century commenced. Curiously, Marco made an early petition to hold the rights to the printing of tablature in Venice. Yet apparently, no imprints from him appeared and very little of his own music was printed for some three decades. The story of how some of Marco’s music has survived to this day and the relationship that his kind of compositions – often Ricercari but also an early example of a Fantasia – had with the paintings of Giorgione is engagingly told by Lukas Henning in the booklet essay to this new recording. Henning, whose credentials as a performer and as an investigator are backed by his having studied at the prestigious Schola Cantorum Basiliensis – and with no less a star in the lutenist firmament than Hopkinson Smith –, intersperses this new selection of works by Marco dall’Aquila with some of his own sympathetic and informed compositions – including a delightful piece which explores the nightmare of breaking a string!
96 kHz / 24-bit PCM – Glossa Studio Masters

Tracks 1-24 – 88.2 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit

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