Amandine Beyer, Gli Incogniti - Nicola Matteis: False Consonances of Melancholy (2009)
Amandine Beyer, Gli Incogniti - Nicola Matteis: False Consonances of Melancholy (2009)
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 72:47 | Scans included
Classical | Label: Zig-Zag Territories | ZZT 090802 | Recorded: 2009
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 72:47 | Scans included
Classical | Label: Zig-Zag Territories | ZZT 090802 | Recorded: 2009
The Sablé festival, held annually in Sablé-sur-Sarthe in France, has its own recording concern that it uses primarily to expose young early music artists and to support the most interesting of their projects; the Zig-Zag Territoires label provides an outlet for this endeavor. Here is a wholly worthy enterprise: the group Gli Incogniti – led by the fabulous young violinist Amandine Beyer – in a program drawn from various works of mysterious late seventeenth-century violinist Nicola Matteis, its title, False Consonances of Melancholy, fashioned after one of his publications, but not limited to its contents. As Matteis is not a household name, some summary of his place in the scheme of things is not out of order here: born in Naples, possibly contemporary to Heinrich von Biber, Matteis was an itinerant musician in Germany before making his way to London about 1670. He rose over time to become one of the principal violinists in England, noted for his facility as an improviser, the excellence of his compositions, and his rather coarse and uncivilized manner. While he had many private students, Matteis never gained any privilege at court and may not have cared to hold one down; his son, also named Nicola Matteis, would do so in Vienna starting in 1700 and enjoyed a far more stable and conventional career pattern. The elder Matteis seems to have died around the time his son left for Vienna and is known to posterity from seven published volumes appearing from between 1676 through 1703, two consisting of songs and one republished in a radically changed version, presumably after Matteis' death, and a scattering of music in manuscript sources.
Stylistically, Matteis falls somewhere in between Biber and Locke; while the music bears numerous harmonic eccentricities and a representational slant reminiscent of Biber, it also betrays the influence of English style and texture, particularly in regard to the handling of melody. Like Biber, Italian style is a key component in Matteis' music, but it is of an altogether older manner than the Corellian attitude practiced by Matteis' son, at times hearkening back even to the "bizzarries" of Biagio Marini. Needless to say, to an early music violinist all of these elements are strongly attractive combination, and Beyer makes the most of it, delivering a crisp and confident rendering of Matteis with an attentive and richly sonorous continuo provided by gambist Baldomero Barciela, guitarist/theorbists Ronaldo Lopes and Francesco Romano, and harpsichordist Anna Fontana. It's a long program, consisting of no less than 40 movements' altogether, and this relates to this release's only drawback. Many to most of Matteis' often very short pieces come bundled up into suites, and Gli Incogniti has elected to pick from Matteis' whole instrumental repertoire and add movements from elsewhere into sets that have already established contents.–Dave Lewis
Performer:
Gli Incogniti
Amandine Beyer, violin & direction
Tracklist:
Nicola Matteis (c1650-c1700)
01. Sonata (Adagio)
02. Diverse bizarie Sopra le Vecchia Sarabanda ò pur Ciaccona
03. Passaggio rotto. Andamento Veloce
04. Fantasia
05. Preludio in fantasia
06. Allegro
07. Aria malinconica (Adagio)
08. Giga (Allegro)
09. Aria Amorosa
10. Aria
11. Preludio
12. Musica (Grave-Presto)
13. Sarabanda (Adagio)
14. Aria
15. Aria burlesca (Presto)
16. Fuga (Prestissimo)
17. Giga. Al Genio Turchesco
18. Preludio
19. Adagio
20. Allemanda ad imitatione d'un tartaglia
21. Movimento incognito
22. Sarabanda Amorosa (Adagio)
23. Gavotta (Presto)
24. Preludio. Presto
25. Pavana Armoniosa
26. Il Russignolo
27. Preludio Allegro (Prestissimo). Malinconio (Adagio)
28. Aria (Adagio-Presto)
29. Vivace. Eco
30. Fuga (Presto)
31. Preludio (Adagio)
32. Prestissimo
33. Un poco di maniera Italiana. Aria Ridicola (Presto)
34. Aria
35. Fantasia
36 Preludio in ostinatione. Passagio rotto
37. Andamento malinconico. Divisone ad libitum
38. Grave. (Adagio)
39. Aria for the Flute
40. Giga
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 15. January 2020, 19:45
Amandine Beyer / False Consonances of Melancholy
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==== Log checksum D67E6D74BBC1C2D950312C7B044B08128339AEB4DCF03FD4555B5B9B042BAA1E ====
Amandine Beyer, Gli Incogniti - Nicola Matteis: False Consonances of Melancholy (2009)
Thanks to the original releaser