VESTIVA – Lux Musicae London

£12.00 + P&P

Vestiva features virtuosic diminutions and embellishments practices of the 16th and 17th centuries, both historical and brand new ones written and improvised by the performers, based on historical treatises.
The programme includes famous and hidden treasures by composers such as Cipriano de RORE, John BENNET, Giovanni Pierluigi da PALESTRINA, Philippe VERDELOT, Pieter de VOIS, Orlando di LASSUS et al

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'This is an album of pleasing variety' (**** BBC Music Magazine)
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Description

Released on a DigiSleeve CD and on all digital platforms: 12 January 2024

Lux Musicae London
Mirjam-Luise Münzel recorders
Aileen Henry harp
Toby Carr
lute


VESTIVA

1. Pieter de VOIS (c. 1580/81–1654)
Je ne puis eviter (from T Uitnement Kabinet, pub. 1646, Amsterdam)

2. Giovanni Pierluigi da PALESTRINA (c. 1525–1594) (diminutions by Giovanni BASSANO, 1558–1617)
Diminutions on Vestiva i colli (from Motetti, madrigali et canzone francese, Venice, pub. 1591)

3. G.P. PALESTRINA (embellishments by Laurenzino del LIUTO, c.1552–1590)
Così le chiome mie (from Thesaurus harmonicus pub. by Jean-Baptiste Besard, Cologne, 1603)

4. John BENNET (c. 1575–1614) (diminutions by Mirjam-Luise MÜNZEL, b. 1990)
Venus’ Birds (consort song of 5 parts, single manuscript, pub. in Songs from the Oxford manuscripts, and later Play-songs, MB 22)

5. Michael PRAETORIUS (1571–1621) (diminutions by M.-L. MÜNZEL)
Bransle de la Torche XV (from Terpsichore, Musarum Aoniarum, pub. 1612)

6. Johann Jacob van EYCK (1590–1657)
Slap o zoete slap (from Fluyten Lust-hof, Eerste Deel, pub. 1649, Amsterdam)

7. Philippe VERDELOT (1485–1552) (diminutions by M.-L. MÜNZEL)
Diminutions on O dolce nocte (from Il terzo libro de madrigali, pub. 1537)

8. Orlando de LASSUS (c.1530–1594) (lute intabulation by ANONYMOUS)
Susanne ung Jour (from the Wickhambrook lute manuscript, c. 1590s)

9. ANONYMOUS (diminutions by Jacob van EYCK)
When Daphne from fair Phoebus did fly (diminutions from Fluyten Lust-hof, Eerste Deel, pub. 1649, Amsterdam)

10. G.P. PALESTRINA (embellishments by L. del LIUTO)
Vestiva i colli (from Thesaurus harmonicus, pub. 1603 by Jean-Baptiste Besard, Cologne)

11. Pierre-Francisque CAROUBEL (1556–c. 1611)
Spagnolette (from Terpsichore, Musarum Aoniarum, pub. 1612)

12. O. de LASSUS (diminutions by M.-L. MÜNZEL)
Susanne ung jour (from Tiers livre des chansons a 4-6 parties, pub. 1560)

13. Nicola MATTEIS (1650–1714)
Prelude (from Ayrs for the Violin, pub. 1676)

14. Cipriano de RORE (c. 1515–1565) (diminutions by M.-L. MÜNZEL)
Ancor che col partire (from Madrigali a 4 voci, pub. 1547)

15. Anthony HOLBORNE (c.1545–1602) (diminutions by M.-L. MÜNZEL)
Paradizo (from Pavans, Galliards, Almains and other short Aeirs, pub. 1599)

16. Girolamo FRESCOBALDI (1583–1643)
Toccata Nona (from Primo Libro di Toccate, pub. 1615–1637, Roma)

17. N. MATTEIS
Diverse bizarrie sopra la Vecchia Sarabanda o pur Ciaccona

Recorded at Holy Trinity Church, Stroud Green, London, UK, February 2022
Engineered and produced by Ignacio Lusardi Monteverde

Press Quotes

‘The collection of instrumental music from the 16th and 17th centuries sees the trio at the top of their game in what we believe could be one of the stand out instrumental releases of the year.’  (Early Music Shop – Featured Album of the Month (February 2024))

‘The players are sensitive to the wisful air of ‘Susanne unjour’… we are also treated to two works by Nicola Matteis, despatched with terrific improvisatory freedom… This is an album of pleasing variety’ (**** BBC Music Magazine)

‘This disc is a fine demonstration of some of the main aspects of performance practice in music of the late Renaissance and early Baroque, thanks to the invention and playing skills of the three artists: Mirjam-Luise Münzel (recorder), Aileen Henry (harp) and Toby Carr (lute). This seems to be the first recording of their ensemble. It is a promising debut, and I hope to hear more from them in the years to come.’ (MusicWeb International)

‘All the works are performed by these 3 musicians with the same musical sensitivity, and the recording is enjoyable from beginning to end.’ (American Record Guide)