L'arte di diminuire

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Release Date: 1st May 2020
Catalogue No: CC72843
Label: Challenge Classics
Length: 69 minutes

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Lera: Descendi in hortum meum di Palestrina passeggiato

Work length4:02

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$1.75

Leonor de Lera
L'Estro d'Orfeo

Rognoni: Vestiva I Colli

Work length4:36

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Leonor de Lera
L'Estro d'Orfeo

Marini, B: Romanesca per Violino solo e Basso se piace

Work length4:51

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Leonor de Lera
L'Estro d'Orfeo

Lera: Pulchra es amica mea di Palestrina

Work length5:09

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Leonor de Lera
L'Estro d'Orfeo

Lera: Diminuzioni sopra 'Usurpator tiranno' di Giovanni Felice Sances

Work length6:42

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Leonor de Lera
L'Estro d'Orfeo

Uccellini: Aria Decima Quarta à doi violini sopra La mia Pedrina (Book 4)

Work length4:11

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Leonor de Lera
L'Estro d'Orfeo

Casa: Petit Jacquet

Work length4:31

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Leonor de Lera
L'Estro d'Orfeo

Kapsberger: Folia

Work length7:16

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Leonor de Lera
L'Estro d'Orfeo

Uccellini: Aria Quinta sopra La Bergamasca (from Book 3)

Work length4:24

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Leonor de Lera
L'Estro d'Orfeo

Prada: Io canterei d‘amor di Cipriano per suonar alla bastarda

Work length3:51

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Leonor de Lera
L'Estro d'Orfeo

Núñez, J: O felici occhi miei di Arcadelt

Work length5:05

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Leonor de Lera
L'Estro d'Orfeo

Salaverde: Vestiva i colli passegiatto a doi, basso e soprano

Work length3:43

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Leonor de Lera
L'Estro d'Orfeo

Rossi, S: Sonata quinta sopra un aria francese

Work length2:36

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Leonor de Lera
L'Estro d'Orfeo

Casa: Petite fleur coincte

Work length3:18

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Leonor de Lera
L'Estro d'Orfeo

Lera: Tarantella del Gargano diminuita

Work length4:49

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Leonor de Lera
L'Estro d'Orfeo

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The second release on Challenge Classics by Leonor de Lera and her group of virtuosos, L'Estro di Orfeo. This CD explores the widespread practice of diminutions by presenting published examples of diminutions on well-known motets, by master composers; diminutions on popular melodies or dance forms and finally, diminutions composed by the performer as artist.

Diminutions, the art of extemporary embellishment or melodic variation, were an essential part of performance practice of the Renaissance and early Baroque periods. The basis of diminutions is the fragmentation of a long note or series of long notes into many shorter and faster ones that move around the original melody. In the 16th and early 17th centuries, a composition as written by the composer was often regarded as raw material and it was normal and even required of musicians to embellish the works performed. The number of treatises that were devoted to the teaching of this subject is a clear indication of the importance of diminutions at that time. Most of these manuals included a collection of decorated melodies taken from renowned madrigals, motets and chansons by well-known composers of the time. These pieces give us clear examples of how music was performed during that time and what was considered the proper way to embellish a piece of music. Often technically demanding, these pieces gave scope for virtuoso display as they required great dexterity from the performer. In conclusion, diminutions were added to make a piece of music more 'beautiful'.

CRITCAL ACCLAIM "... so much exquisite playing and rare and magical music" - MusicWeb International on CC72760, Altri Canti d'Amor

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