Holiday Shop


WGBH Radio WGBH Radio theclassicalstation.org
Welcome to ArkivMusic, the retail store for classical.net!

Nuove Musiche / Rolf Lislevand


Release Date: 03/07/2006 
Label:  Ecm   Catalog #: 000507002   Spars Code: DDD 
Composer:  Rolf Lislevand
Performer:  Marco AmbrosiniThor Harald JohnsenRolf LislevandArianna Savall,   ... 
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 52 Mins. 

In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

You want this CD. You don’t know it yet, and I’ll try and explain why later, but you really do want this CD – trust me, I’m a musician ...

That glib and contradictory phrase ‘expect the unexpected’ applies to the ECM label as it applies to almost no other; it certainly applies to this CD. Nuove Musiche is a state of mind, the conception of new artistic expression as it was thought of by a motley collective of scholars, artists and philosophers in Florence at the beginning of the 17th century. The prevailing style of music was declared to be moribund, and the ‘Camerata Fiorentina’ as they called themselves, changed musical history single-handed. The music on this recording is based on the works of composers who were inspired
Read more by this new attitude, and if the names Kapsberger, Pellegrini, Piccinini, Narváez, Frescobaldi and Gianoncelli mean anything to you then you are still in for a surprise.

Rolf Lislevand has created his own Camerata Fiorentina and, with a few basic rules, thrown the window wide open on the constantly evolving but sometimes stiffly stifling conventions of early music performance practice. I have always been brought up to appreciate sympathy with the materials one employs in whatever artistic pursuit one may be involved in: you can push the boundaries of course, but if, you are binding a book, it should still be useful as a book, no matter how decorative or extravagant the cover. Reading Lislevand’s ‘manifesto’ on performing I find myself in agreement with everything he says, especially: ‘The proper colour and language of a musical style are intimately related to the specific properties of the instrument used.’ I like someone who calls a spade a spade – even someone who calls a spade a handheld short-range loam transportation unit, just as long as he makes beautiful shovels. In early music terms Lislevand is of course re-stating some fairly obvious things, but when a recording like this suddenly leaps out and becomes the only thing you want to hear for a fortnight then a little artistic clarification is useful.

So, what are we to make of what he makes of it all? Improvisation is partly the name of the game here, and is the essence of this ensemble’s freshness of approach. ECM’s association with brilliantly improvising jazz musicians is well established, and there are moments on this recording which are almost combo crumpet. Just listen to track 12, the Passacaglia Cantata - the groove in that bass part, and the licks that go over it. Baroque and early music are the only ‘classical’ music forms which are in agreement with this kind of intellectually controlled freedom, having this in common with jazz, where the qualities of the player are equal to, sometimes even greater than, the qualities in the original composition. I leave aside modern compositions which tap into ‘gesture’ as an art form, but which all too often are the lazy or misguided solution to a lack of content.

Lislevand makes an interesting and valid point: ‘To interpret an existing work is to position oneself at a precise moment in history (which) normally entails beginning where the last imagined performance left off ... Reproducing the same performance merely replicates a past performance rather than producing a new and unheard one.’ Lislevand goes on to place the reality of performing in its modern context, with the associations living within its performers, and the realities of modern spaces and technologies. There is no point trying to throw up the dust of the past in an attempt to mould it into the re-creation of a long lost art. Far better to use the abilities and knowledge of talented and well-informed musicians to use the sources of the past to inform the ears of the present.

Where does this leave us? If you like Andrew Lawrence-King’s ‘Harp Consort’ then you’ll like this. If you enjoy well written pop music – a bit of Sting for instance, then you will find yourself wanting this as well – sample bass lead tracks 12 and 13 if you want to hear what I mean. If there’s a corner of your brain that is haunted by Laraaji’s ‘Day of Radiance’ or the good bits in Steve Reich’s ‘Electric Counterpoint’, or Nigel Kennedy’s solo in the Adagio of ‘Autumn’ on his 1997 EMI recording, then there are enough moments here to float at least part of your boat. If you can swing to Paco de Lucía’s guitar or have a strange attraction to Uri Caine’s surrealist fusions then you will be interested in what is going on here, and will find yourself pressing ‘play’ again as soon as the last notes have faded away. I’m not suggesting that the music here is really like any of these other artist’s work – just that there are some parts of my brain which are teased in similar ways by what is going on here. Take the first track, Arpeggiata addio, whose yearning, suspended dissonances are threaded by a peculiar scraping percussion, which tickles the folds in your cerebellum like some benign insect while mellifluous plucked strings and a soaring voice make your own heart race in a flood of joy to be alive. How many CDs do you have in your collection which provide this service? A beautifully timed pairing follows, with the solo baroque guitar Passacaglia antica I leading straight into the understated but driving percussion rhythms and flying improvisation in Passacaglia andaluz I. The individual colour of the clavichord is an unusual and valued contribution to the sound of this music, being particularly evident in the Passacaglia cromatica and elsewhere. I suspect its soft sound has been boosted in the mix a little, but who cares about that; or the extra reverb for that matter. Rich harmonic progressions or richly arranged-for simple ones are vital factors in making this music so effective. Listen to the variety in the Passacaglia antica III which leads into the Passacaglia cantus firmus, both with a lonely guitar opening which spreads out into a shimmering ocean of strings in the former, and kicking into an irresistible singing-swinging number in the latter. Passacaglia celtica has an almost Irish folk-like quality, and if you want to know where Purcell had some of his ideas from, the following Passacaglia spontanea will give you food for thought. I’m not so sure about the random sounding percussion and bicycle bells in this last piece, but it’s a Nordic thing – they can’t help it, and I pardon them. Arianna Savall’s singing voice is pure and used sparingly – all to the greater effect when it does appear. The one and only appearance of the portativo organ in the Ciaconna is sheer magic, and I am a great fan of Lislevand’s arrangements in general, increasingly appreciating all those subtle instrumental touches each time I hear them anew.

No criticisms then? Well, it is a bit short at a little more than 50 minutes, but there is so much going on here that it’s easy to find yourself willing the thing to finish so that you can play it all over again. I suspect that there are very few of you out there that will dislike the actual recording, which is of course up to ECM’s usual immaculately succulent standards. Possibly only of those among you who insist on sitting in the dark listening to Furtwängler’s Ring cycle (in mono) again during Prom season will turn your noses up, but I’m not trying to convert lost causes. You really want this CD – I’m telling you, but you don’t really want as much as need it – you’ll certainly find yourself taking a fix on a regular basis once you have it!

-- Dominy Clements, MusicWeb International
Read less

Works on This Recording

1.
Passacaglia antica I (after Pellegrini: Armoniosi concerti sopra la chitarra spagnuola: Passacaglia) by Rolf Lislevand
Performer:  Marco Ambrosini (Viola d'amore), Thor Harald Johnsen (Chitarra Battente), Rolf Lislevand (Guitar),
Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute), Arianna Savall (Voice),
Arianna Savall (Triple Harp), Bjorn Kjellemyr (Double Bass), Pedro Estevan (Percussion),
Bjorn Kjellemyr (Colascione), Guido Morini (Clavichord), Guido Morini (Organ)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 9 Secs. 
2.
Passacaglia andaluz I (after Pellegrini) by Rolf Lislevand
Performer:  Guido Morini (Clavichord), Guido Morini (Organ), Thor Harald Johnsen (Chitarra Battente),
Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo), Arianna Savall (Triple Harp),
Rolf Lislevand (Archlute), Arianna Savall (Voice), Pedro Estevan (Percussion),
Bjorn Kjellemyr (Double Bass), Bjorn Kjellemyr (Colascione), Marco Ambrosini (Viola d'amore)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 35 Secs. 
3.
Passacaglia cromatica (after Pellegrini) by Rolf Lislevand
Performer:  Rolf Lislevand (Theorbo), Arianna Savall (Triple Harp), Arianna Savall (Voice),
Pedro Estevan (Percussion), Bjorn Kjellemyr (Colascione), Bjorn Kjellemyr (Double Bass),
Guido Morini (Organ), Guido Morini (Clavichord), Thor Harald Johnsen (Chitarra Battente),
Marco Ambrosini (Viola d'amore), Rolf Lislevand (Guitar), Rolf Lislevand (Archlute)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 1 Minutes 52 Secs. 
4.
Passacaglia cantus firmus (after Narváez: Con qué la lavaré) by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Clavichord),
Guido Morini (Organ), Bjorn Kjellemyr (Colascione), Bjorn Kjellemyr (Double Bass),
Pedro Estevan (Percussion), Arianna Savall (Voice), Arianna Savall (Triple Harp),
Rolf Lislevand (Guitar), Rolf Lislevand (Archlute), Rolf Lislevand (Theorbo)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 33 Secs. 
5.
Passacaglia celtica (after Board Lute Book: "Howm again Markget is done") by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Clavichord),
Guido Morini (Organ), Bjorn Kjellemyr (Colascione), Arianna Savall (Voice),
Bjorn Kjellemyr (Double Bass), Pedro Estevan (Percussion), Arianna Savall (Triple Harp),
Rolf Lislevand (Archlute), Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 0 Secs. 
6.
Passacaglia spontanea by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Organ),
Guido Morini (Clavichord), Bjorn Kjellemyr (Double Bass), Bjorn Kjellemyr (Colascione),
Pedro Estevan (Percussion), Arianna Savall (Voice), Arianna Savall (Triple Harp),
Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute), Rolf Lislevand (Guitar)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 4 Minutes 13 Secs. 
7.
Passacaglia andaluz II by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Organ),
Guido Morini (Clavichord), Bjorn Kjellemyr (Double Bass), Bjorn Kjellemyr (Colascione),
Pedro Estevan (Percussion), Arianna Savall (Voice), Arianna Savall (Triple Harp),
Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 15 Secs. 
8.
Toccata (after Kapsberger: Libro I d'intavolatura di lauto: Toccata) by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Guido Morini (Clavichord), Guido Morini (Organ),
Marco Ambrosini (Viola d'amore), Bjorn Kjellemyr (Double Bass), Bjorn Kjellemyr (Colascione),
Pedro Estevan (Percussion), Arianna Savall (Voice), Arianna Savall (Triple Harp),
Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 5 Minutes 31 Secs. 
9.
Passacaglia cantata (after Frescobaldi: Così mi disprezzate) by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Organ),
Guido Morini (Clavichord), Bjorn Kjellemyr (Double Bass), Bjorn Kjellemyr (Colascione),
Pedro Estevan (Percussion), Arianna Savall (Voice), Arianna Savall (Triple Harp),
Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute), Rolf Lislevand (Guitar)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 4 Minutes 13 Secs. 
10.
Corrente (after Gianoncelli) by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Clavichord),
Guido Morini (Organ), Bjorn Kjellemyr (Colascione), Bjorn Kjellemyr (Double Bass),
Pedro Estevan (Percussion), Arianna Savall (Voice), Arianna Savall (Triple Harp),
Rolf Lislevand (Guitar), Rolf Lislevand (Archlute), Rolf Lislevand (Theorbo)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 18 Secs. 
11.
Corrente (after Kapsberger: Libro IV d'intavolatura di chitarrone: Corrente) by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Guido Morini (Organ),
Guido Morini (Clavichord), Bjorn Kjellemyr (Colascione), Bjorn Kjellemyr (Double Bass),
Pedro Estevan (Percussion), Arianna Savall (Triple Harp), Rolf Lislevand (Guitar),
Arianna Savall (Voice), Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 1 Minutes 47 Secs. 
12.
Toccata (after Piccinini) by Rolf Lislevand
Performer:  Arianna Savall (Triple Harp), Arianna Savall (Voice), Pedro Estevan (Percussion),
Bjorn Kjellemyr (Colascione), Bjorn Kjellemyr (Double Bass), Thor Harald Johnsen (Chitarra Battente),
Marco Ambrosini (Viola d'amore), Guido Morini (Organ), Guido Morini (Clavichord),
Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 38 Secs. 
13.
Ciaccona (after Piccinini) by Rolf Lislevand
Performer:  Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore), Bjorn Kjellemyr (Double Bass),
Guido Morini (Organ), Guido Morini (Clavichord), Arianna Savall (Triple Harp),
Arianna Savall (Voice), Rolf Lislevand (Guitar), Rolf Lislevand (Archlute),
Rolf Lislevand (Theorbo), Bjorn Kjellemyr (Colascione), Pedro Estevan (Percussion)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 2 Minutes 57 Secs. 
14.
Toccata cromatica (after Piccinini) by Rolf Lislevand
Performer:  Marco Ambrosini (Viola d'amore), Guido Morini (Clavichord), Thor Harald Johnsen (Chitarra Battente),
Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute), Arianna Savall (Voice),
Arianna Savall (Triple Harp), Rolf Lislevand (Guitar), Bjorn Kjellemyr (Double Bass),
Bjorn Kjellemyr (Colascione), Pedro Estevan (Percussion), Guido Morini (Organ)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 3 Minutes 45 Secs. 
15.
Arpeggiata addio (after Kapsberger: Libro I d'intavolatura di chitarrone: Toccata seconda arpeggiata by Rolf Lislevand
Performer:  Marco Ambrosini (Viola d'amore), Bjorn Kjellemyr (Double Bass), Thor Harald Johnsen (Chitarra Battente),
Rolf Lislevand (Archlute), Pedro Estevan (Percussion), Arianna Savall (Voice),
Arianna Savall (Triple Harp), Guido Morini (Organ), Bjorn Kjellemyr (Colascione),
Guido Morini (Clavichord), Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 7 Minutes 17 Secs. 
16.
Passacaglia antica II (after Pellegrini: Armoniosi concerti sopra la chitarra spagnuola: Passacaglia by Rolf Lislevand
Performer:  Arianna Savall (Triple Harp), Rolf Lislevand (Archlute), Rolf Lislevand (Guitar),
Rolf Lislevand (Theorbo), Thor Harald Johnsen (Chitarra Battente), Marco Ambrosini (Viola d'amore),
Guido Morini (Organ), Bjorn Kjellemyr (Double Bass), Bjorn Kjellemyr (Colascione),
Guido Morini (Clavichord), Pedro Estevan (Percussion), Arianna Savall (Voice)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 1 Minutes 48 Secs. 
17.
Passacaglia antica III (after Pellegrini: Armoniosi concerti sopra la chitarra spagnuola: Passacagli by Rolf Lislevand
Performer:  Rolf Lislevand (Guitar), Rolf Lislevand (Theorbo), Rolf Lislevand (Archlute),
Arianna Savall (Triple Harp), Arianna Savall (Voice), Pedro Estevan (Percussion),
Bjorn Kjellemyr (Colascione), Bjorn Kjellemyr (Double Bass), Guido Morini (Organ),
Guido Morini (Clavichord), Marco Ambrosini (Viola d'amore), Thor Harald Johnsen (Chitarra Battente)
Period: 20th Century 
Written: 2004; Oslo, Norway 
Date of Recording: 10/2004 
Venue:  Rainbow Studio, Oslo, Norway 
Length: 1 Minutes 48 Secs. 

Sound Samples

Arpeggiata addio
Passacaglia antica I
Passacaglia andaluz I
Passacaglia antica II
Passacaglia cromatica
Passacaglia antica III
Passacaglia cantus firmus
Passacaglia celtica
Passacaglia spontanea
Passacaglia andaluz II
Toccata
Toccata
Passacaglia cantata
Corrente
Corrente
Ciaccona
Toccata cromatica

Customer Reviews

Be the first to review this title
Review This Title
Review This Title Share on Facebook




YOU MUST BE A SUBSCRIBER TO LISTEN TO ARKIVMUSIC STREAMING.
TRY IT NOW FOR FREE!
Sign up now for two weeks of free access to the world's best classical music collection. Keep listening for only $19.95/month - thousands of classical albums for the price of one! Learn more about ArkivMusic Streaming
Aleady a subscriber? Sign In