℗ 2020 Challenge Classics
 

L'arte Di Diminuire

L'Estro d'Orfeo, Leonor de Lera

Available in 176.4 kHz / 24-bit, 88.2 kHz / 24-bit AIFF, FLAC high resolution audio formats
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1.1
Descendi in hortum meum di Palestrina passeggiato
Leonor de Lera; L'Estro d'Orfeo; Leonor de Lera
4:02
1.2
Vestiva i colli. Modo difficile per suonar alla bastarda
Francesco Rognoni; L'Estro d'Orfeo; Leonor de Lera
4:36
1.3
Romanesca per violino solo e basso se piace
Biagio Marini; L'Estro d'Orfeo; Leonor de Lera
4:51
1.4
Pulchra es amica mea di Palestrina
Leonor de Lera; L'Estro d'Orfeo; Leonor de Lera
5:09
1.5
Diminuzioni sopra “Usurpator tiranno“ di Giovanni Felice Sances
Leonor de Lera; L'Estro d'Orfeo; Leonor de Lera
6:42
1.6
Aria decima quarta a doi violini sopra “La mia pedrina”
Marco Uccellini; L'Estro d'Orfeo; Leonor de Lera
4:11
1.7
Petit Jacquet da sonar con la Viola Bastarda
Girolamo Dalla Casa; L'Estro d'Orfeo; Leonor de Lera
4:31
1.8
Folia
Giovanni Girolamo Kapsberger; L'Estro d'Orfeo; Leonor de Lera
7:16
1.9
Aria quinta sopra “La Bergamasca”
Marco Uccellini; L'Estro d'Orfeo; Leonor de Lera
4:24
1.10
Io canterei d‘amor di Cipriano per suonar alla bastarda
Rodney Prada; L'Estro d'Orfeo; Leonor de Lera
3:51
1.11
O felici occhi miei di Arcadelt
Javier Núñez; L'Estro d'Orfeo; Leonor de Lera
5:05
1.12
Vestiva i colli passeggiato a doi. Basso e soprano
Bartolomé de Selma Y Salaverde; L'Estro d'Orfeo; Leonor de Lera
3:43
1.13
Sonata quinta sopra un’Aria francese
Salomone Rossi; L'Estro d'Orfeo; Leonor de Lera
2:36
1.14
Petite fleur coincte
Girolamo Dalla Casa; L'Estro d'Orfeo; Leonor de Lera
3:18
1.15
Tarantella del Gargano diminuita
Leonor de Lera; L'Estro d'Orfeo; Leonor de Lera
4:49
Total Playing Time    69:04
"Diminutions", the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody. In the 16th and early 17th centuries, a composition as written by the composer was often regarded as raw material and it was normal and even required of musicians to embellish the works performed. The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time. Most of these manuals included a collection of decorated melodies taken from renowned madrigals, motets and chansons by well-known composers of the time. These pieces give us clear examples of how music was performed during that time and what was considered the proper way to embellish a piece of music. Often technically demanding, these pieces gave scope for virtuoso display as they required great dexterity from the performer. In conclusion, diminutions were added to make a piece of music more ‘beautiful’. "This [album] explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms and finally, diminutions composed by the performer as artist. I hope this recording will bring the listeners closer to the subject of diminutions which is, in my opinion, an art in itself." - Leonor de Lera
176.4 kHz / 24-bit, 88.2 kHz / 24-bit PCM – Challenge Classics Studio Masters

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