Journées du Luth 2016. Rolf Lislevand : Piccinini, Kapsberger

Scaramanzia - Alessandro Piccinini : Toccata VI, Girolamo Kapsberger : Canarios, Passacalles, Arpeggiata, Kapsberger, Chiaccona - Rolf Lislevand, Thor Harald Johnsen, Ulrik Gaston Larsen : Guitares Baroques, Chitarra Battente, Chitarrone, Colascione.

[@renardbleu1790]

Absolument fantastique

[@finnmcgrath9854]

Can you three gentlemen please do a studio album and record the arrangements you did for this event in studio quality? These performances are sublime. I have listened to live, broadcast and recorded classical performances for 40 years and this is by far one of the best live performances I have ever had the privilege to hear. And now I want a colascione.

[@peterstephens733]

Music like this must be a major source of healing

[@TheModernHermeticist]

Merci

[@MrLuridan]

Rolf is extraordinary.

[@paulcaswell2813]

Gorgeous playing - pity about the recording! One of the best performances of the Kapsberger I've heard...

[@EugeneSheftel]

My heart is full of joy, thanks!

[@christopherheinig5590]

Belle Bellissimo !!! Merci !!!

[@johnmckenzie9944]

Utterly splendid.

[@burnlake]

Fascinating!

[@francoisemendousse-pineau6404]

Très belle interprétation!

[@michaeladdiego7786]

Hypnotic.

[@letmetellyousomething123]

Wonderful!

[@franklandsman3436]

Maestro Lislevand combines the academic precision of Hopkinson Smith with the gleeful virtuosity of Paul O'Dette, and his fellow minstrels are obviously inspired as well!

[@clairebuchet2251]

Pas besoin de rock ou de country quand on a Rolf Lislevand , son luth.... et les guitares baroques... C-M Buchet

[@chant.tonnant]

Simplement, les uns peuvent s'inspirer des autres mais l'inverse est inutile. Trouver l'énigme...

[@mariellacarbone4162]

Súper!

[@johnpeck6144]

Superb!

[@cyllansse]

5:10 Arpeggiata , Kapsberger

[@FoliesEspagne]

Great!

[@LaTablatura]

Molto buono !

[@Metal94head]

my dream as a bass player is to pick up a colascione and jam to some renaissance/baroque tunes with professional musicians

[@vyacheslavgadzhiev7803]

magic

[@alkssmith9762]

Wonderful, what's the name of the "bass lute", at right?

[@kevinakimou9811]

It's a colascione: they are often smaller than this (some tiny). Very similar to the arabic saz (long-necked lute) which is still very active. Kapsberger wrote a piece called "Colascione". The instrument seems to have been used in popular music in Italy from the Middle Ages until the Baroque/Classical period. The Greek bouzouki (3 or 4 courses) is also an evolution of the Turkish saz, migrated from Smyrna in Turkey to Athens in the 1920's. It went from there to modern Irish folk music in the 1960's (Irish Bouzouki). kzbin.info/www/bejne/bqvUpoWbm9uigtk

[@alkssmith]

Thanks!

[@imotogin]

@@alkssmith 'bass lute' lol

[@tobiasstudtheol]

@@kevinakimou9811, although the colascione wasn't strung in courses. It had 2-6 single strings. You are right about the use. I want to add that it was mostly used in lower Italy. Today it is a very rare instrument and just specialists play, although it is really easy to learn. The six stringed colascione has the same tuning as a modern classical guitar just one octave lower (16' instead of an 8').

[@kevinakimou9811]

@@tobiasstudtheol There's no single description of a colascione: its a whole bunch of related instruments which get mixed up with other similar instruments. The six string colachon/gallichon with similar tuning to the guitar/renaissance lute, that you mention, is not really the same thing as the colascione as used here. The colachon had a repertoire from baroque to classical and was also played in Austria/Germany, surviving instruments suggest mostly with double courses (repertoire Schiffelholtz, Brescianello etc. Possibly Haydn).The construction is rather like a baroque lute without the daipaisons: arched fingerboard etc. Sometimes gallichon seems to refer to mandola. Many mandolins in the north of Italy seem to have had single stringing, including the larger ones. The mandolino bresciano (often 3 or 4 single gut strings) in the North of Italy is very close to the small intrument which is in modern usage commonly called colascione. This is really a soprano version of the bass instrument shown in the video: www.archiviodellaliuteriacremonese.it/strumenti/1799_mandolino_bresciano_cremonese.aspx?f=689518. Southern Italy also has/had instruments similar to the Greek baglamas (like a small saz/tambura, very short strings like a violin) which might historically be connected to Greek settlers (as for the bowed lyra which is found in Calabria and is similar to the lyra played on the Greek islands). The Turkish baglama is similar but usually guitar/lute sized. The modern Greek baglamas, which is still very popular, has "stolen" its modern construction from the Italian mandoline. The names are very confusing and probably vary a lot with period, region, dialect, construction and musical practice. Folk instruments from a particular local tradition get taken into more formal musical tradition and then migrate with their names and the instruments then evolve separately. " The six stringed colascione has the same tuning as a modern classical guitar just one octave lower (16' instead of an 8' " To play an octave below the classical guitar with simple (not overspun) gut or wire strings would need either very thick strings or a very long string length (using a normal guitar first, the string length is 130cm which is like the bass strings of the chitarrone that Lislevand plays here). A friend of mine made a fairly primitive folk instrument which he called a colascione: 3/4 strings at about 150cm. You can only fret it in the high positions using the first 2 strings and the others used as drones/bordoni. That is the effect that Kapsberger was referring to I think in his colascione piece: treble notes on the high strings and droning basses.

[@ОльгаБыстрова-т5г]

👋👋Жаль, что не студийная запись, очень "грязная".

[@taekomatsutaka3807]

merci