Battuto and Pizzicato – Concertzender | Klassiek, Jazz, Wereld en meer Concertzender

Towards the end of the 17th century, solo works for guitar appear for the first time in Spain, in books by Gaspar Sanz and Francisco Guerau. It is worth noting that this music is mainly in the plucked style (punteado in Spanish), and that strummed chords (rasgueado) are largely absent.

After 1700, almost no music in the mixed battuto-pizzicato style appeared anymore in France and Italy. The last book of guitar music from Italy was published by Ludovico Roncalli in 1692, and twenty years after Robert de Visée published his second book (1686), only in 1705 François Campion’s Nouvelles Decouvertes appeared in France.

In this episode, we will also hear the music by Domenico Rainer which was recently rediscovered. In Rainer’s works, we find clearly recognisable parallels with the violin music of Archangelo Corelli.

 

Gaspar Sanz (1640 – 1710)



* Canarios

* Pavanas



Rolf Lislevand, baroque guitar

(cd Encuentro Sanz & Santa Cruz, Astrée E 8575, 1997)

 

Gaspar Sanz



* Canarios



Miguel Rincon, baroque guitar

(cd  Sones del Viejo Mundo, Lindoro NL3042, 2019)

 

José Marin (fl. 2nd half 17th c.)



* Sepan todos que muero

* Coraçon in Prision



Maria-Luz Álvarez, soprano and Lex Eisenhardt, baroque guitar

(cd Spanish Songbooks, Emergo EC 3928-2, 2000)

 

Ludovico Roncalli (1654–1713)



* Allemande



Bernhard Hofstötter, baroque guitar

(cd Roncalli: Complete Guitar Music, Brilliant Classics 95856, 2021)

 

Archangelo Corelli (1653 – 1713)

From Sonata op. 5 nr. 8:



* Preludio

* Allemanda



The Avison Ensemble

(cd Corelli Opus 5 Violin Sonatas, Linn Records, CKD412, 2013)

 

Archangelo Corelli, arr. Santiago de Murcia (1673 – 1739)



* Toccata

* Allegro



Stefano Maiorana, baroque guitar

(cd Santiago de Murcia: Entre dos almas, Arcana A484, 2021)

 

Domenico Rainer (fl. c. 1700)



* Suite in G minor



– Allemande

– Allegro

– Giga

– Sarabanda

– Gavotta

– Giga dell’ Rainer

Lex Eisenhardt, baroque guitar

(cd Domenico Rainer works for Baroque Guitar, Brilliant Classics 95866, 2019)

 

Santiago de Murcia



* Fandango



Stefano Maiorana, baroque guitar

(cd Santiago de Murcia: Entre dos almas, Arcana A484, 2021)

 

Jean-Philippe Rameau (1683 – 1764)



* La Villageoise



Sophie Yates, harpsichord

(cd  Rameau: Pièces de Clavecin Vol. 1, Chandos CHN659.2, 2000)

 

François Campion (1686-1747)



* Les Soupirs

* Gigue la Somptueuse



Lex Eisenhardt, baroque guitar

(personal archive)

 

Domenico Rainer



* Giga in B minor



Lex Eisenhardt, baroque guitar

(cd Domenico Rainer works for Baroque Guitar, Brilliant Classics 95866, 2019)

In contrast to Italy, where guitar books had been published since the beginning of the 17th century, the French repertoire in the battuto-pizzicato style emerged only about half a century later. In a short time, between 1671 and 1686, a considerable number of works appeared in print.

The predilection that Louis XIV and his court composer Lully had for song and dance was of great influence. In Lully’s ballets and operas, various characters from the commedia dell’arte appear, such as Scaramouche, a creation by the actor Tiberio Fiorilli. This Scaramouche is often depicted with a guitar in hand.

In addition, the presence in Paris of the charismatic virtuoso Francesco Corbetta, who was a welcome guest at the Royal courts of Europe, undoubtedly influenced the widespread – but also short-lived – fashion for the guitar.

In the 1680s, Robert de Visée had a special position as a court musician. He had the privilege of being summoned frequently to play the guitar before the Royal supper in the private quarters of the Sun King, attended by a small group of intimates.

 

 

Francesco Corbetta (1615 – 1681)



* Folia



Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)

 

Francesco Corbetta



* Suite in A minor



– Prelude

– Allemande

– Courante

– Sarabande

– Gigue

Lex Eisenhardt, baroque guitar

(personal archive)

 

Jean Baptiste Lully (1632 – 1687)

From the Ballet de la naissance de Vénus:



* Première Entrée

* Etoile du point du jour

* Les Heures

* Menuet



Les Talens Lyriques olv. Christophe Rousset

(cd Lully: Ballet royal de la naissance de Venus, Aparte AP255, 2021)

 

Francesco Corbetta



* Caprice de Chaconne



Lex Eisenhardt, baroque guitar

(personal archive)

 

Robert de Visée (fl. 1682 – 1632)



* Suite in D minor



– Prelude

– Allemande

– Courante

– Sarabande

– Gavotte

– Bourrée

– Menuet I and II

– Gigue

– Passacaille

Lex Eisenhardt, baroque guitar

(personal archive)

 

Antoire Forqueray (1672 – 1745)



* La Sylva



André Lislevand, viola da gamba

(cd Forqueray unchained, Arcana A486, 2021)

 

Robert de Visée



* Suite in G major



– Prelude

– Allemande

– Courante

– Menuet

– Gavotte en rondeau

– Gigue

Fred Jacobs, theorbo

(cd Robert de Visée, pieces de theorbe, Metronome MET CD 1072, 2008)

 

Marin Marais (1656 – 1728)



* La guitare



André Lislevand, viola da gamba, Jadran Duncumb, theorbo

(cd Forqueray unchained, Arcana A486, 2021)

The heyday of the battuto-pizzicato repertoire was in the second half of the 17th century. The guitar’s greatest success was mainly due to a few charismatic virtuosi such as Francesco Corbetta, who was a welcome guest at the courts of Europe. However, some of the most important innovations in terms of the style can be found in Bartolotti’s Secondo libro (c. 1655). Angelo Michele (or Michelangelo) Bartolotti was famous mainly as a player of the theorbo, rather than as a performer of guitar music. In his second guitar book we find works in the pizzicato style of the lute, next to dances like the sarabanda and the passacaglia, which are predominantly strummed. Bartolotti’s virtuosic use of the guitar is striking, as is his successful integration of the Italian and French styles.

 

Vincenzo Albrici (1631 – 1687)



* Sinfonia in D minor



Musica Antiqua Köln

(cd Musica Baltica, DG Archiv 459 619-2AH, 1999)

 

Michelangelo Bartolotti (fl. 1640 – 1669)

Suite in E minor



* Prelude

* Allemande

* Courante

* Sarabande

* Gigue

* Passacaille



Lex Eisenhardt, baroque guitar

(personal archive)

 

Giovanni Antonio Pandolfi Mealli (1624 – c. 1687)



* La Vinciolina



Andrew Manze, violin and Fred Jacobs, theorbo

(cd Pandolfi Mealli violin sonatas, Channel Classics, CCS 5894, 1992)

 

Michelangelo Bartolotti



* Prelude

* Allemande



Simon Linné, theorbo

(cd l’Art du théorbiste, Brilliant Classics 95426, 2017)

 

Johann Jacob Froberger (1616 – 1667)

Suite in D minor



* Allemande

* Courante

* Sarabande

* Gigue



Gilbert Rowland, harpsichord

(cd Froberger: Suites for harpsichord, Athene Records ATH 23204, 2019)

 

Michelangelo Bartolotti



* Sarabande

* Gigue

* Chaconne



Simon Linné, theorbo

(cd l’Art du théorbiste, Brilliant Classics 95426, 2017)

In the early 17th century the guitar became very popular in Italy, in particular because the instrument is ideally suited to accompany oneself, in popular songs. Around 1630, players began looking for a more sophisticated use of the instrument. Giovanni Paolo Foscarini, who played the guitar as well as the lute and the theorbo, started to integrate the plucked polyphony of the lute and the strummed chords of the guitar.

Giovanni Paolo Foscarini (fl. 1620 – 1649)



*

Capriccio sopra la ciaccona

Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)



 

Girolamo Kapsberger (c. 1580 – 1651)

2. Toccata

3. Corrente

Fred Jacobs, theorbo

(cd Virtù e nobilità, Metronome METCD1093, 2019)

 

Biagio Marini (1594 – 1663)

4. Gagliarda

5. Corrente

6. Retirata

Ensemble Romanesca

(cd Curiose & Moderne Inventioni, Harmonia Mundi 2907175, 2004)

 

Alessandro Piccinini (1566 – 1638)

7. Corrente

8. Gagliarda

Nigel North, lute

(cd Intavolatvra di livto et di chitarrone, Arcana CEX0584, 1995)

 

Girolamo Kapsberger

9. Gagliarda

Fred Jacobs, theorbo

(cd Virtù e nobilità, Metronome METCD1093, 2019)

 

Girolamo Frescobaldi (1583 – 1643)

10. Corrente – Ciaccona (1 track)

Roberto Loreggian, harpsichord

(cd Frescobaldi Edition Vol. 1, Toccatas & Partitas, Brilliant Classics – 93767, 2008)

 

Giovanni Paolo Foscarini

11. Toccata

12. Corrente

13. Gagliarda

Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)

 

Giovanni Paolo Foscarini

14. Ciaccona

Lex Eisenhardt, baroque guitar

(personal archive)

 

Michelagnolo Galilei (1575 – 1631)

15. Toccata

16. Corrente

Anthony Bailes, lute

(cd Intavolatura di liuto, Ramée RAM 1306, 2014)

 

René Mesangeau (c. 1568 – 1638)

17. Allemande

18. Courante

Anthony Bailes, lute

(cd Old Gautiers Nightingale, Ramée RAM 0707, 2007)

 

Giovanni Paolo Foscarini

19. Alemanda in C minor

Lex Eisenhardt, baroque guitar

(personal archive)

 

Jean-Henri D’Anglebert (1629 – 1691)

20. Allemande du Vieux Gautier

21. Courante du Vieux Gautier

Mélisande McNabney, harpsichord

(cd Inspirations, ATMA classique ACD2 2780, 2019)

 

Biagio Marini

22. Passacaglio

Hesperion XXI with Jordi Savall

(cd Ostinato, AliaVox AV9820, 2001)

 

Francesco Corbetta (1615 – 1681)

23. Passacaille

Lex Eisenhardt, baroque guitar

(personal archive)

Giovanni Paolo Foscarini

24. Toccata

25. Corrente

26. Sarabanda

Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006

The story of the guitar begins in Spain, shortly after 1500. We first hear music for the vihuela, the Spanish counterpart of the lute. In Italy, at the beginning of the 17th century a transition is taking place to a new style, the Seconda pratica. Now the accompaniment of the solo voice takes the centre stage, and, like the theorbo, the guitar is frequently used for this purpose. Around that same time, chord playing on the five-course guitar flourishes in Spain as well, and the refined polyphony of the vihuela is abandoned.

Luys de Narváez (fl. 1526-1549)

1. Fantasía del quarto tono

2. Ay arde coraçon¬

Lex Eisenhardt, vihuela

(cd Music for Vihuela, Etcetera KTC 1114, 1991)

Juan Vásquez (fl. 1511-1560)

3. Con qué la lavaré

Ensemble la Colombina

(cd Canciones, Romances, Sonetos, Accent 95111, 2000)

Miguel de Fuenllana (fl. 1554–1574)

4. Con qué la lavaré

Lex Eisenhardt, vihuela

(cd La Guitarre Royalle, Etcetera KTC 1199, 1998)

Diego Ortiz (fl. 1553–1576)

5. Passamezzo antiquo

6. La Romanesca

7. La Folia

Les Basses Réunis

(cd Trattado de glossas, Alpha 56, 2020)

Luys de Narváez (fl. 1526–1549)

8. Diferencias sobre “Conde Claros”

9. Diferencias sobre “O Gloriosa Domina”

Lex Eisenhardt, vihuela

(cd Music for vihuela, Etcetera KTC 1114, 1991)

Anonymous

10. O Gloriosa Domina (Gregorian hymn)

La Capella Real de Catalunya with Jordi Savall

(cd La Ruta de Oriente, AliaVox AVSA9856, 2008)

Estéban Daza (c. 1537–1590)

11. A tierras agenas

12. Quién te hizo Juan pastor

13. Ay mudo soy

Maria-Luz Álvarez, soprano. Lex Eisenhardt, vihuela

(cd Spanish Songbooks, Emergo Classics EC 3928-2, 2000)

Francesco Corbetta (1615–1681)

14. Ciaccona

Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)

Martino Pesenti (c. 1600–1648)

15. Io non raggiero il piède

Maria-Luz Álvarez, soprano. Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)

Francesco Corbetta

16. Corrente

Lex Eisenhardt, baroque guitar

(personal archive)

Giovanni Paolo Foscarini (fl. 1620 – 1649)

17. Balletto il fedel amante

18. Corrente Francese

Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)

Domenico Obizzi (c. 1611–1630)

19. E pur di novo

Maria-Luz Álvarez, soprano. Lex Eisenhardt, baroque guitar

(cd Canta Venetia!, Etcetera KTC 1316, 2006)

Francesco Corbetta

20. Prelude from the suite in D minor (1671)

Lex Eisenhardt, baroque guitar

(personal archive)