L'Estro d'Orfeo & Leonor de Lera - L'arte Di Diminuire - 2020 (FLAC, 24BIT – 176,4KHZ)

L’Estro d’Orfeo & Leonor de Lera – L’arte Di Diminuire – 2020 (FLAC, 24BIT – 176,4KHZ)

Composer: Girolamo Dalla Casa, Johannes Hieronymous Kapsberger, Leonor de Lera, Biagio Marini, Javier Núñez, Rodney Prada, Francesco Rognoni, Salamone Rossi, Bartolomé de Selma y Salaverde, Marco Uccellini
Orchestra: Leonor de Lera
Conductor: L’Estro d’Orfeo
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 176,4kHz
Number of channels: 2.0
Label: Challenge Classics
Size: 2.42 GB
Recovery: +3%
Scan: yes (cover)
Server: rapidgator

L’Estro d’Orfeo & Leonor de Lera / L’arte Di Diminuire (2020)

01. Lera: Descendi in hortum meum di Palestrina passeggiato 4:02
02. Rognoni: Vestiva I Colli 4:36
03. Marini, B: Romanesca per Violino solo e Basso se piace 4:51
04. Lera: Pulchra es amica mea di Palestrina 5:09
05. Lera: Diminuzioni sopra ‘Usurpator tiranno’ di Giovanni Felice Sances 6:42
06. Uccellini: Aria Decima Quarta à doi violini sopra La mia Pedrina (Book 4) 4:11
07. Casa: Petit Jacquet 4:31
08. Kapsberger: Folia 7:16
09. Uccellini: Aria Quinta sopra La Bergamasca (from Book 3) 4:24
10. Prada: Io canterei d‘amor di Cipriano per suonar alla bastarda 3:51
11. Núñez, J: O felici occhi miei di Arcadelt 5:05
12. Salaverde: Vestiva i colli passegiatto a doi, basso e soprano 3:43
13. Rossi, S: Sonata quinta sopra un aria francese 2:36
14. Casa: Petite fleur coincte 3:18
15. Lera: Tarantella del Gargano diminuita 4:49

The second release on Challenge Classics by Leonor de Lera and her group of virtuosos, L’Estro di Orfeo. This CD 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.

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’.

CRITCAL ACCLAIM “… so much exquisite playing and rare and magical music” – MusicWeb International on CC72760, Altri Canti d’Amor

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