A SOLO Music for viola da gamba
Paolo Pandolfo, viola da gamba
Total playing time 77:13 Recorded in San Lorenzo de El Escorial (Finca El Campillo), Spain, in September 1997 Engineered by Carlos Céster & Bertram Kornacher Produced by Sigrid Lee & Paolo Pandolfo Executive producer: Carlos Céster Booklet text: Paolo PandolfoEnglish - Français - Deutsch
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A SOLOMusic for viola da gamba
01 Anonymous: Aria della Monicha 02 Diego Ortiz: Pass’emezzo antico03 Diego Ortiz: Pass’emezzo moderno
04 William Corkine: The Punckes delight 05 Tobias Hume: A Pavan 06 Richard Sumarte: Daphne 07 Richard Sumarte: Whoope do me no harm08 William Corkine: Come live with me
09 Mr De Machy: Prélude 10 Marin Marais: Le Badinage 11 Marin Marais: Les Voix humaines12 Mr St Colombe: Aire en rondeau
Johann Sebastian Bach: Cello suite no. 4 13 Prélude 14 Allemande 15 Courante 16 Sarabande 17 Bourrées 1 & 218 Gigue
19 Carl Friedrich Abel: Arpeggiata 20 Carl Friedrich Abel: Adagio21 Carl Friedrich Abel: Allegro
22 Paolo Pandolfo: A solo (Tombeau)
About this CD
Paolo Pandolfo has always manifested a modern human streak in his playing of the viola da gamba, demonstrating how an instrument which was born in the 16th century can still speak directly and eloquently to us today. This was vividly encapsulated on an inspirational recording on Glossa which came out back in 1998, bearing a title – A solo – which proclaims both the personal touch, but also the exposed presence of one performer playing alone.
Pandolfo takes the listener on a journey across European gamba music from its beginnings in the 16th century in Italy and Spain, including music by Diego Ortiz, its adoption into the Stuart psyche in the British Isles through Tobias Hume, William Corkine and Richard Sumarte, onto its age of supreme elegance with Marin Marais and M. de Machy in the times of Louis XIV in France, and thence to the 18th-century German Courts, nourished by French and Italian influences, and expressed in a wholly original way by JS Bach (Pandolfo’s transcription of his fourth Cello Suite) and by the “swansong” style of CF Abel.
Topped and tailed by Pandolfo’s own, heartfelt, contributions to the instrument’s repertory, A solo harnesses virtuosity worn lightly with the power of a stringed instrument to “sing” and to make harmony. Fêted by critics when it was first issued, but for some time now unavailable, the recording is happily being reissued on Glossa as a testament to the unique contribution that Paolo Pandolfo continues to make to the art of music-making.