Composer: Johannes Hieronymous Kapsberger
Performer: Fred Jacobs
Format: FLAC (tracks)
Label: Metronome
Catalogue: METCD1093
Release: 2019
Size: 361 MB
Recovery: +3%
Scan: yes
Libro quarto d’intavolatura di chitarone
01. Toccata nona
02. Gagliarda quinta
03. Corrente sesta
04. Preludio ottavo
Libro terzo d’intavolatura di chitarone
05. Toccata quarta
Libro quarto d’intavolatura di chitarone
06. Corrente prima
07. Preludio primo
08. Canzone prima
09. Preludio decimo
10. Toccata ottava
11. Gagliarda quarta
12. Corrente quarta
13. Capona
Libro terzo d’intavolatura di chitarone
14. Toccata terza
Libro quarto d’intavolatura di chitarone
15. Kapsperger
Libro terzo d’intavolatura di chitarone
16. Toccata seconda
Libro quarto d’intavolatura di chitarone
17. Corrente ottava
18. Sfessania
19. Preludio secondo
20. Passacaglia
21. Ballo terzo. Uscita – Ballo – Gagliarda – Corrente
22. Toccata quarta
23. Gagliarda seconda
24. Corrente seconda
25. Canario
26. Preludio quarto
27. Toccata seconda
28. Gagliarda ottava
29. Corrente settima
30. Villan di Spagna
31. Mattaccino
32. Sarabanda
Fred Jacobs, Dutch advocate of the theorbo, that outlandish scale lute that became the rage at court and also in the opera in 17th century Europe continues his solo recital series of theorbo music for Metronome with an album devoted to the music of Kapsperger. The theorbo’s most notable exponent in Italy in the early 17th century was the remarkable gentleman composer-performer Giovanni Girolamo Kapsperger who though known as Il Tedesco della Tiorba- “The German Theorbo-player” was born in Venice of German noble family and spent his life composing and performing in Italy and serving the papal court in Rome. His extra-ordinary music, notable for its somewhat sometimes wayward and experimental tonality, has been influenced by that other noble Italian experimentalist- Gesualdo and even compared to Monteverdi. This recording concentrates on his Roman works, written for a noble audience and for the private entertainment of the court of pope Urban VIII Barberini. It demonstrates that behind the novelty of style of Kapsperger’s music there lies a great and serious composer who knew the rules but particularly how to bend them.