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From Borderlands

Angelo Barricelli

- 2009

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12,99 €

Annotations “from bordelands”
The immense production for lute of the seventeenth century, with examples ranging from Italian Renaissance to John Dowland, the Irish traditional music of Turlough O’Carolan and current compositions of Fausto Bottai, which echos of Celtic atmosphere; The popular music of the Slavic nation, here in this ancient Roman and Turovski and the tribute to Slavic people from Roberto Fabbri; Angelo Barricelli as guitarist wanted to collect, even if in an heterogeneous appearance, music belonging to eras and regions far from our continent, with the absolutely modern aim to show different cultural styles as part of a single European origin. Hence the title of the Cd: From Borderlands from border territories, since under this perspective they want to underline the undeniable evidence of continuity and contiguity between what at glace looks s far in space and time. The success of the lute in Italy since the beginning of 500 was immense, and was one of the first significant blooms of music specifically produced for a specific instrument. From the beginning they were mainly transcripts of songs and motets, typical forms of contemporary vocal polyphonic music. But in the same time an instrumental music predetermined or better inspired from the dance was taking place and giving a relevant contribute to determine the salient features of the repertory, because more adequate for a pure instrumental execution, close to the first experiments of composition specifically conceived and realized for and with the instrument (the fantasy, the research). Pietro Paolo Borrono, among the lutenist of the first middle of the XVI century, maybe was who with more profit found inspiration from the dance: his production is in fact for the most part of pavans and saltarelli, often of imaginative and allusive names, but allways characterized by a remarkable melodic and rhythm incisiveness, as evidenced by the Pavana called the Milanesa. He also didn’t refused to consider the cultured approach of the searcher where his friend and compatriot Francesco of Milan was supreme master: the “Fantasy” excellently performed by Barricelli in this Cd is a clear confirm. Also the production of Giulio Cesare Barbetta is mainly inspired by dance, we remember, beyond the dances that are part of the repertory most traditional as the Padoana called the spiteful, the Moresche, with a characteristic exotic taste. True and proper international language, the literature for lute from Europe of ‘500 and beyond, if it’s true that we find transcripts from vocal music and dances and fantasies in all the brochures or manuscripts of the period, in Italy, in France, in England and somewhere else… From this repertory the top is represented without any doubt by the compositions for lute solo of John Dowland, from which this CD quotes some relevant examples. This great musician, “whose celestial touch on the lute was stealing the human senses”, as an his contemporary poet said, lived a rambling and disquieting life, he traveled in almost all the European countries in the last foreshortening of the XVI century. He was drenched as a sponge of the strange “tassesca” melancholy that was winding in Europe” (M.Mila). Were the richness and the complexity of his human and artistic experience rather the dowries innate of versatility and fantasy… it’s a matter of fact that the production of Dowland spaces inside an immense stylistic range: from the resurgence of a rigorous imitative elements of ancient contrapuntal origin till simple and vivacious dances motives, from echoes of popular themes splendidly adapted to the needs of the instrument till fantasies that uses colors and fugue fragments. But in front of this richness, we like to focus the attention to an aspect that, in our opinion wrongly, to somebody looks secondary for Dowland music. For example: if we analyses the composition “The Frog Galliard”, and we leave aside the fragments where the composer indulges to the taste of the variation with virtuosity and ornamental parts, we discover this composition express a simple structure: theme with semi cadence, the resumption of the theme and the tonic conclusion, short engraved, return to the theme and conclusion. It could seem the structure of the “Celtic” ballade… If somebody, underlining the exit of the famous CD dedicated to Dowland of Sting-Karamazov “Songs from the labyrinth”, he was driven to claim that “the music of Dowland was containing already the prodromes of the great school of folk that some centuries later was ended in the USA and in the UK. Would be necessary to shout the scandal? Culturted music, or popular music? contamination of which it is improper to speak about ? If it was so, to absurd, we should not mention the singular personality of Turlough O’Carolan, the most famous “modern bard of Ireland”. His harp music, in fact, looks like the perfect result of the contamination of the three traditional music in vogue in Irland from the XVII and the XVIII century: the popular music, the harp tradition and the cultured music of European derivation, mainly Italian (in fact we consider mainly the influence on the compositions of O’Carolan from the great baroque Italian musicians: Vivaldi, Corelli, Germiniani). In spite off, in fact maybe due to this complex and versatile personality, he is one of the fixed stars of the repertory of the musicians that dedicate to the “revival” of the Celtic music. From some his compositions just the melodic line arrived to us, then doesn’t exist a musician interested in this repertory that has not grappled with the arrangement of this stupendous melodic lines. Particularly appreciated, as various and complex but in the same time respecting the possible harmonic structure of the compositions for Celtic harp, are the transcripts for guitar of Pascal Bournet, selected by x for this CD. Fausto Bottai is perfectly reconnecting to this ancient and glorious tradition that follows indeed his personal research inside a modalism of a prevalent “Celtic” imprinting, but it’s never limited anyway to the pure and simple taste of the exterior citation. We could talk, in his case, about a process of interior assimilation of archaic melodic modules with echoes of arias and dances of Renaissance period of popular inspiration or also from more far ages. Simple music, far of any complication, of any modern harmonic roughness that could seem at glance, obsolete, outdated. Anyway looking better the research goes sometimes, without tugs or visible contradictions, to results that paradoxically seem to deny from roots the archaic modalism that we’ve just evoked. There are compositions thought and written following the ancient canons, with a particular predilection for Doric and Eolic; but somebody from the beginning feels, listening a composition as Giullaresque, that we are in front of an artificial modal structure, that no one of the “Celtic” musicians would never pass to mind to use. At this point the program of the CD anticipates a sharp and unexpected turn: it unexpectedly move from one extreme of the other of the old continent and in the same time back again until the land back to the Renaissance period. Roman Turovsky published on his web site a complete collection of folkloristic music of ‘500 of his origin country, Ukraine, arranged by him for renaissance lute. This could seem at glance rather strange, to not say arbitrary, but in reality it has an deep historical and cultural justification. In fact the popular Ukraine music is rooted in the legendary kozbar, the wandering minstrels of XVI-XVIII century, which songs singing about heroes episodes, were supported by kozba, an instrument similar to the lute. The torban, a bigger instrument that could have up to 45 strings, replaced the kozba in the XVIII century: we can say anyway that moving from kozba to torban, the lute is the national Ukraine instrument. Turovsky has arranged the simple and short musical themes that compose the ancient “Cantiones sarmaticae”, inviting the musicians to perform their interpretation of these wonderful compositions, not just, but also willing to abandon themselves to the ancient and noble art of theme variation producing from small melodic cells new and vital compositions. He offers a brilliant sample with the Variations of “Zibralysja Vsi Burlaky”. The same considerations could be made about the music of the baroque period of which als Turovsky has done a wide silloge including the other composition presented in the CD “Jarom Jarom”, originally arranged for baroque lute. To this track of “oriental” music generally speaking coming from Slavic land, we can link the last compositions that x present in the CD. There are compositions for guitar of Roberto Fabbri, that wants to be “sharing images of a life all round the world , between men having different culture, approaches, sonorities and empathies diverse” as we can read in the foreword of volume “Fra classico e..” where the composition are presented. Between these music, it’s true, Angelo has selected those that are referred to a specific cultural context (one of the titles “Notte a Belgrado” tells all), keeping for the future – why not?- the idea to continue to other destinations in this exciting trip…“from bordelands”. 

Label: LIRA CLASSICA - Catalog: N° LR CD 124 - Product by Massimo Monti, Musicisti Associati Produzioni M.A.P. - Distribution M.A.P.


Tracks list CD:
01, Pavana chiamata "La Milanesa" (P.P Borrono da Milano- 1'37'')
02. Fantasia (P.P Borrono da Milano - 2'54'')
03. Padoana detta la dispettosa (G.C.Barbetta - 1'16'')
04. Moresca detta le canarie (G.C.Barbetta - 0'56'')
05. The frog galliard (J.Dowland - 1'54'')
06. Tarleton's riserrection (J.Dowland - 0'46'')
07. Fortune (J.Dowland - 1'44'')
08. The most sacred Queen Elisabeth,her galliard (J.Dowland - 1'15'')
09. Mrs.Winter's jump (J.Dowland - 0'48'')
10. Colonel John Irwin (T.O.Carolan - 2'41'')
11. O Carolan's draught (T.O.Carolan - 1'48'')
12. Sir Charles Coote (T.O.Carolan - 1'20'')
13. O Carolan's farewell to music (T.O.Carolan - 4'07'')
14. George Brabazon (first air-second air) (T.O Carolan - 3'33')
15. Dolly Mac Donough (T.O.Carolan - 2'37'')
16. Miss Murphy (T.O.Carolan - 1'50'')
17. The dream of the sad minstrel (F.Bottai - 2'14'')
18. Giullaresque (F.Bottai - 1'18'')
19. Il vento fra i pini d'autunno (F.Bottai - 1'56'')
20. Variazioni sopra "Zibralysja Vsi Burlaky (R.Turovsky - 3'22'')
21. Jarom,Jarom (R.Turovsky - 1'50'')
22. Notte a Belgrado (R.Fabbri - 2'14'')
23. Hammam (R.Fabbri - 4'39'')
24. Dance for Dale (R.Fabbri - 3'49'')