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Ortiz: Recercadas Del Trattado De Glosas, 1553 [Import]

Diego Ortiz , Jordi Savall , Ton Koopman , Rolf Lislevand Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)


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Jordi Savall is an exceptional figure in todays music world. For more than thirty years he has been devoted to the rediscovery and performance of neglected musical treasures as a soloist and director of his three ensembles. He has restored an essential repertoire to all those with ears to hear it. Except for the happy few who already revere it, the viola da gamba, is an instrument so refined ... Read more in Amazon's Jordi Savall Store

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Product Details

  • Performer: Jordi Savall, Ton Koopman, Rolf Lislevand
  • Composer: Diego Ortiz
  • Audio CD (June 12, 2001)
  • Number of Discs: 1
  • Format: Import
  • Label: Naive / Astree
  • ASIN: B000059M6R
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #936,907 in Music (See Top 100 in Music)

1. Recercadas (6) on 'La Spagna,' for bass viol solo: Recercada 2
2. Recercadas (6) on 'La Spagna,' for bass viol solo: Recercada 3
3. Recercadas (6) on 'La Spagna,' for bass viol solo: Recercada 1
4. Recercadas (6) on 'La Spagna,' for bass viol solo: Recercada 4
5. Recercadas (6) on 'La Spagna,' for bass viol solo: Recercada 5
6. Recercadas (6) on 'La Spagna,' for bass viol solo: Recercada 6
7. Recercadas (4) on Arcadelt's 'O felici occhi miei': Recercada 4
8. Recercadas (4) on Arcadelt's 'O felici occhi miei': Recercada 1
9. Recercadas (4) on Arcadelt's 'O felici occhi miei': Recercada 2
10. Recercadas (4) on Arcadelt's 'O felici occhi miei': Recercada 3
11. Recercadas (4) for viola da gamba solo: Recercada 3
12. Recercadas (4) for viola da gamba solo: Recercada 2
13. Recercadas (4) for viola da gamba solo: Recercada 1
14. Recercadas (4) for viola da gamba solo: Recercada 4
15. Recercadas (4) on Sandrin's 'Doulce memoire,' for treble viol & keyboard: Recercada 4
16. Recercadas (4) on Sandrin's 'Doulce memoire,' for treble viol & keyboard: Recercada 1
17. Recercadas (4) on Sandrin's 'Doulce memoire,' for treble viol & keyboard: Recercada 2
18. Recercadas (4) on Sandrin's 'Doulce memoire,' for treble viol & keyboard: Recercada 3
19. Recercadas sobre tenores: Recercada 4 sobre la 'folia'
20. Recercadas sobre tenores: Recercada 1 sobre el 'passamezzo' antiguo
See all 27 tracks on this disc

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4 of 4 people found the following review helpful
5.0 out of 5 stars Explore the birth of tonal harmony September 15, 2013
Format:MP3 Music
Ortiz' Recercadas del Tratado de Glosas (1553), or "Ricercars on grounds", is an important collection of instrumental works featuring some of the earliest surviving (that is, written) examples of harmony-based music. The organizing standard for many of these pieces is a short, repeating chord progression, with elaborations above them that were probably models for improvisation. Eventually these forms would grow into more the elaborate variation-based chaconnes and passacaglias associated with later composers such as Bach and even Brahms.

If you're reading the Oxford History of Western Music, there are several cited examples present in this recording. The first track comprises "Tres recercadas sobre tenores" and the third, on the Passamezzo moderno, is Taruskin's Ex. 15-13. Note the characteristic IV-V-I cadence. Taruskin considers this to be the truly tonal music to be preserved though its genre probably goes back quite some time before. Certainly this is some of the earliest surviving "Baroque"-sounding music. The grounds are short enough that the entire piece is underpinned by a repeating harmonic progression (not just the random succession of modal harmonies that you get in "ars perfecta" works during non-cadential passages), and the accompaniment features struck/strummed chords as "independent perceptual units" (Taruskin) and not as simply the result of the voice leading.

Track 4 gives seven recercadas on the La Spagna progression. This is Taruskin's Ex. 15-11, and the order is Taruskin's 2, 3, 1, 4, 5 and 6. This music still sounds a bit more old-style, intended as examples of how a viol player might improvise over a cantus firmus derived from a bassadanza (rather than a repeating ground).

The Romanesca given in Track 7 is ostensibly Taruskin's Ex.
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