Performer: Kate Clark, Nigel North
Number of Discs: 1
Format: FLAC (tracks)
Size: 1.04 GB
01. Claudin de Sermisy (1490-1562): Au joly bois
02. Jacques Arcadelt (c.1507-1568): O felichi occhi miei
03. Francesco da Milano (1497-1543): 3 Fantasias
04. Claudin de Sermisy: Tant que vivray
05. Tielman Susato (1510-1570): Les miens aussi
06. Francesco da Milano: Ricercare
07. Giovanni Pierluigi da Palestrina (1525-1594): Pulchra es amica mea
08. Philip van Wilder (c. 1500-1554): Dump
09. Giovanni Bassano (1558-1617): Ricercata terza
10. Giulio Caccini (1551-1618): Sfogava con le stelle
11. Girolamo Frescobaldi (1583-1642): Canzona quarta per soprano e basso
12. Joachim Thibaut de Courville (c. 1535-1581): Si je languis d’un martire incogneu
13. Pierre Guédron (1563-1621): Si jamais mon ame blessée
14. Constantijn Huygens (1596-1687): Que ferons-nous
15. Robert de Visée (1655-1732): Prélude
16. Jacques-Martin Hotteterre (1674-1763): Rochers, je ne veux point
17. Robert de Visée: Entrée des Espagnols de Mr. de Lully
18. Jacques-Martin Hotteterre: L’autre jour ma Cloris
19. Robert de Visée: Logistille de Mr. de Lully
20. Jacques-Martin Hotteterre: Vous qui faites votre modelle
Jacques-Martin Hotteterre: Première suite:
22. Allemande “La Royalle”
23. Rondeau “Le Duc d’Orleans”
24 Sarabande “La d’Armagnac”
25 Gigue “La Folichon”
In an age when thousands of recordings testify to the glorious history of the flute as a solo, chamber, and orchestral instrument and even as a marvelous vehicle for jazz it is difficult to imagine that the flute did not always have a distinct identity and a dedicated repertoire.
In fact, there was no such thing as a flute repertoire until the early 18th century. Before this, the flute was simply one of the soft instruments considered suitable mostly for indoor music.
One particular development stands out as a feature of 16th century musical practice that seems to point toward the role that instruments would come to have in the future: this was the practice of improvising virtuosic embellishments known as diminutions or divisions upon a single melody line taken from a polyphonic vocal piece while the remaining parts were played on a lute.
The perfect balance between equal parts is lost, but the immense power of a beautifully crafted melody is highlighted. The lute supports the whole with a harmony full of life and rhythmic intricacy.