Utwory na płycie:

• 1 Arpeggiata (Buch 1).mp3
• 2 Canzona Nr. 1 (Buch 4).mp3
• 3 Bergamasca.mp3
• 4 Canario.mp3
• 5 Passacaglia.mp3
• 6 Fantasia detta Pegasea.mp3
• 7 Arpesca gagliarda.mp3
• 8 Cecchina corrente.mp3
• 9 Toccata cromatica.mp3
• 10 Romanesca con partite variate.mp3
• 11 Corrente Nr. 1.mp3
• 12 Toccata Nr. 7 (Buch 3).mp3
• 13 Gagliarda con due partite.mp3
• 14 Corrente con partita Nr. 1.mp3
• 15 Toccata Nr. 13.mp3
• 16 Partite variate sopra la Folia aria romanesca.mp3
• 17 Aria di fiorenze.mp3
• 18 Corrente Nr. 2.mp3
• 19 Arpeggiata a mio modo.mp3
• 20 Cromatica corrente.mp3
• 21 La Follia.mp3
• 22 Furiosa corrente.mp3
• 23 Preludio Nr. 5.mp3
• 24 Toccata Nr. 7.mp3
• 25 Capona.mp3
• 26 Colascione.mp3
• 27 Kapsperger.mp3

Giovanni Girolamo Kapsperger:
Arpeggiata
Canzona
Bergamasca
Canario
Passacaglia
Toccata
Gagliarda con due partite
Corrente con partite
Preludio
Toccata
Capona
Colascione
Kapsperger

Bellerofonte Castaldi:
Fantasia detta Pegasea
Arpesca gagliarda
Cecchina corrente
Arpeggiata a mio modo
Cromatica corrente
La Follia
Furiosa corrente

Alessandro Piccinini:
Toccata cromatica
Romanesca con partite variate
Corrente
Toccata
Partite variate sopra La Folia aria romanesca
Aria di fiorenze
Corrente

Its overall length (upwards of 160 cm) and great number of strings (up to 16 courses) makes the chitarrone one of the more spectacular instruments of the early baroque. The name probably means ‘large kithara’, after the instrument played by the Classical Greek poets, and it was first developed as a bass lute in order to accompany singing and recitative – indeed it appears to have become the favourite instrument in Italy for accompanying the voice by 1600. It also enjoyed a short-lived but rich flowering as a solo instrument, however, to which the three virtuosi of the album title all contributed greatly, as performers as well as composers. Between 1604 and 1640, Giovanni Girolamo Kapsperger (also known as Johann Hieronymus Kapsberger), Alessandro Piccinini and Bellerofonte Castaldi published a number of collections of chitarrone music, from which Jakob Lindberg has chosen some favourite dances, arias, toccatas and passacaglias. Combined into seven suites, they provide rich opportunity to enjoy the particular timbre and the special playing techniques of this splendid instrument, the chitarrone. Highly regarded both for his live performances and his many recordings, Jakob Lindberg has a long-standing interest in the many varieties of lutes, including lute mandorée, orpharion and archlute, and has now dedicated himself to researching their relative – research which informs both the performances and Lindberg’s own liner notes.