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古典音乐最大的作用就在于能够引人向上，给予灵魂平静和美好。
而且古典音乐还有着深刻思想的内容，无与伦比精致的技术结构，最经得起时间考验的华丽与高雅。
无损音乐下载类型：古典音乐打包下载，无损古典音乐专辑免费下载。
古典音乐不但可以开发你的想象力，古典音乐还能提升你的艺术修养，最重要的是在当今浮躁的世界里，
唯有古典音乐能还你一颗平静的心。当你内心真正平静下来了以后，才能从容不迫的面对世间一切纷扰，实现自我突破。
5无损音乐格式古典音乐冷门 - ECM维赛(ca.1655-1732,33),科尔贝塔(ca.1615-1681) 假面舞会
Rolf Lislevand - La Mascarade (2016, ECM New Series)
Composer: Robert de Visee (ca.1655-1732/3) 罗伯特·德·维赛,
Francesco Corbetta (ca.1615-1681) 弗兰西斯科·柯尔贝塔 / 科尔贝塔
Musicians: Rolf Lislevand Theorbo, Baroque Guitar (https://www.ecmrecords.com/artists/1435047324/rolf-lislevand/) 罗夫·里斯勒凡德
date: 20.05.2016
ECM: Edition of Contemporary Music
文艺复兴时期是吉他的鼎盛时期。十六世纪四对复弦的吉他和它的近亲——用手指弹奏的比维拉琴，在演奏与创作方面都达到了很高的水准。吉他和比维拉琴不仅深受民众喜爱，而且还常常成为宫廷乐器。当时的吉他、比维拉大师有米兰、纳乐瓦埃斯、穆达拉，以及十七世纪时五组复弦的巴洛克吉他时代大师桑斯、科尔贝塔、维赛等。他们的许多作品现在仍是现代古典吉他无损音乐专辑曲目中的不朽财富。当时吉他、比维拉琴等乐器所使用的记谱方法还不是现在的五线谱，而是用横线来代表各弦，用数字或字母表示音位和指法，与现在民谣吉他中使用的六线谱类似的图示记谱法。
当时着名的鲁特琴作曲家道兰德和魏斯等人的作品经后人改编，在今天的古典吉他无损音乐专辑曲目中占有重要的位置。伟大的巴洛克音乐集大成者巴赫所创作的不朽作品如大提琴、小提琴组曲、奏鸣曲的吉他改编曲，在古典吉他曲具有不朽的价值。十八世纪后期鲁特琴和比维拉琴逐渐退出了历史舞台，五对复弦和其后出现的六对复弦吉他也渐渐完成了它们的历史使命。1800年前后，全新的六根单弦的吉他以其清晰的和声及调弦方便等优点很快得到了几乎全欧洲的青睐，古典吉他的黄金时代终于到来了。
十七世纪:
1606年，吉罗拉莫·蒙泰沙尔多（Cirolamo Montesardo）吉他教本在意大利的波伦亚发行。
1615年，意大利吉他演奏家法兰西斯科·柯尔贝塔（Francesco Corbetta, 1615-1681）出生于巴维亚（Paria）.
1626年，西班牙吉他演奏家路易斯·泰斯·布利塞诺（Luisdes Briceno）的吉他教本在巴黎发行。
1639年，意大利吉他演奏家柯尔贝塔的五弦吉他用图示记谱法在波伦亚发行。
1640年，西班牙作曲家、吉他演奏家、风琴演奏家卡斯帕尔·桑斯（Gaspar Sanz，1640-1710）出生于西班牙卡兰达（Ca-Landa）.
1648年，柯尔贝塔在布鲁塞尔出版《五组弦吉他奏鸣曲》。
1650年，生于十七世纪初的意大利吉他演凑家托米尼可·贝雷库利尼（Domenico Pellegrini）《五弦吉他用曲集》在波伦亚发行。罗贝尔特·笛·维赛（Robert de Visee, 1650-1725）生于法国。维赛是柯尔贝塔的学生，1719年任国王路易十五的吉他教师。
1662年，柯尔贝塔前往英国从事吉他教学和演出活动，在他的学生中包括许多贵族。
1671年，柯尔贝塔把第一首《神圣吉他》献给英国查理二世——一位热情的演奏家。
1674年，卡斯帕尔·桑斯所着的《初步至熟练的课程与西班牙吉他音乐的构成》在沙拉寇沙出版。柯尔贝塔又一次前往伦敦，在伦敦，他的吉他演奏受到当时知名度颇高的文学家约翰·伊布宁（John Evelyn, 1620-1706）莫大的赞赏，伊布宁的名着“Diary"就是在1674年12月2日听到柯尔贝塔的演奏后所得之灵感而写成的。
1682年，维赛的《吉他曲集》在巴黎出版。并于这年任法国王子的吉他教师。
1686年，维赛在巴黎把吉他曲呈献给太阳王路易14世。其中，包括着名的《D小调组曲》在内。
1692年，意大利吉他音乐家卢多维科·龙卡科（Ludovico Roncalli, 生卒年不详）伯爵在贝加莫出版了包括九部组曲的吉他曲集（作品 “Capricci Armonicisopralachitarra Spasnola"）献给罗马教皇的谴外使节朋菲里奥。
1694年西班牙吉他演凑家、作曲家法兰西斯柯·格拉（Francisco Guerau）于马德里行"Poema Harmonico Compuesto de Varias Porel Tem Pledela Guitarra Espauola"，此呈献给卡罗斯二世。此书中含有很多五弦吉他用之华丽创新音乐。
In this wonderful solo album, Norwegian early music performer Rolf Lislevand turns his attention to the music of two composers from the court of Louis XIV: Robert de Visée (c. 1655-1732) and the Italian-born Francesco Corbetta (c. 1615-1681), and plays their masterpieces with historical awareness and an inventiveness which belongs to the tradition. De Visée wrote about playing what the instruments themselves called for, advice Lislevand takes to heart, adding improvised introductions to passacaglias from both composers. He uses two contrasting instruments here, the small Baroque guitar with its sparkling, crystal-clear sonorities and the theorbo, the dark-toned and earthy king of the lutes. In his fascinating liner notes, Lislevand reminds us that 17th century instrumental performance was often an intimate affair, with lutenists frequently playing to a dozen privileged listeners. The physical presence of the instruments and that sense of intimacy are recaptured by Manfred Eicher’s production of La Mascarade, made at Lugano’s Auditorio Stelio Molo.
Background
In this inspiring album – his first solo disc for ECM – Norwegian early music performer Rolf Lislevand turns his attention to the music of two composers from the court of Louis XIV: Robert de Visée (c. 1655-1732) and the Italian-born Francesco Corbetta (c. 1615-1681), and plays their masterpieces with historical awareness and an inventiveness which belongs to the tradition. De Visée wrote about playing what the instruments themselves called for, advice Lislevand takes to heart here, adding improvised introductions to passacaglias from both composers.
On La Mascarade, Lislevand uses two contrasting instruments. He plays the theorbo, the dark-toned and earthy king of the lutes, and the Baroque guitar, with its sparkling, crystal-clear sonorities. The 17th guitar, smaller than its modern counterpart, had five pairs of strings, tuned in unisons and octaves. “Musicians of four centuries ago had already developed the instrument’s playing style to explore all the possibilities of surprising strummed rhythms and harmonies, often very modern-sounding to our ears. Moreover the instrument’s many different tunings prefigure the experimental tunings used by improvising musicians today… It seems that guitar players of the seventeenth century did exactly what guitar players have done ever since: compose music with the guitar on their knees by listening to the exciting new sounds that unexpectedly occurred when they put their fingers on new and unusual places on the fingerboard.”
Where the Baroque guitar had no bass register, the theorbo was effectively a bass lute: “Together these instruments create a chiaroscuro in music, an image in sound of the Baroque theory of that magic tension that exists between light and darkness.”
Francesco Corbetta’s virtuosity was first celebrated outside his native Italy. In his fascinating liner notes, Lislevand reports that Corbetta charmed Charles II in London, “and left a whole court strumming on small Baroque guitars.” Robert de Visée was Corbetta’s student In Versailles, and went on to become one of the Sun King’s composers, as well as his guitarist and theorbo player. “De Visée played his own music at court,” writes Lislevand, “occasionally in the king’s bedroom, while the monarch was taking supper. On request he would play his guitar walking two steps behind the king during the daily royal promenade of the gardens of Versailles – the first Walkman in musical history.”
La Mascarade was recorded at Lugano’s Auditorio Stelio Molo RSI, and produced by Manfred Eicher.
“I only develop what the material implies,” Rolf Lislevand has said. “Everything must be contained within the piece. Why then was it hidden until now? My usual reply is that we just change the proportions – a very Baroque technique.”
Lislevand was born in Oslo in 1961 and studied classical guitar at the Norwegian State Academy of Music from 1980 to 1984. He continued his studies with Hopkinson Smith and Eugène Dombois at the Schola Cantorum Basiliensis in Switzerland and later played with several of Jordi Savall’s ensembles. Lislevand, whose recordings have won numerous awards, has been professor of lute and historical performance at Trossingen Musikhochschule since 1993.
He assembled a group of international early music virtuosi for his very successful ECM debut in 2006, tellingly entitled Nuove Musiche, which focused on early Italian Baroque songs from the late 17th century. “The expansion and contraction of arranged and improvised elements allows the original Baroque material to breathe authentically in our own time, resulting in a phantasmagoria whose haunting effects are only accentuated by ECM’s beautifully spacious recording,” wrote William Yeoman in Gramophone.
That album was followed by Diminuito, which once again put strong emphasis on improvisation, drawing on music from 16th-century Veneto. As with Nuove Musiche, press reactions were very positive. “The whole point is to reimagine these 16th-century chansons and dances in ways that wholly respect the originals, and that’s just what takes place here,” Robert Levine observed in Stereophile. “I can’t praise enough the playing, imagination, creativity, and what seems the utter spontaneity evident on this CD …This is a stunning, entertaining, elegant program.”
CD booklet includes liner notes by Rolf Lislevand and photos from the recording.
Track list:
Robert de Visee (ca.1655-1732/3)
01. Prelude en re mineur (1:15)
02. Passacaille en re mineur (2:42)
03. Les Sylvains de Mr. Couperin (4:00)
Francesco Corbetta (ca.1615-1681)
04. Intro (Rolf Lislevand) (1:20)
05. Passacaille en sol mineur (2:37)
Robert de Visee
06. Prelude en la mineur (1:31)
07. La Mascarade, Rondeau (1:31)
Francesco Corbetta
08. Partie de Chaconne en ut majeur (2:38)
09. Sarabande per la B (2:20)
Robert de Visee
10. Chaconne en la mineur (2:40)
Francesco Corbetta
11. Caprice de Chaconne (4:37)
Robert de Visee
12. Chaconne en sol majeur (6:57)
Francesco Corbetta
13. Folie (1:56)
Robert de Visee
14. La Muzette, Rondeau (4:08)
15. Intro (Rolf Lislevand) (0:56)
16. Passacaille en si mineur (2:51)
17. Exit (Rolf Lislevand) (1:02)
18. Sarabande en si mineur (3:27)
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