Con gratia et maniera Paul Beier

• Bartolomé de Selma y Salaverde (1580-1640):
• 1 Canzoni fantasie et correnti da suonar: Vestiva i Colli da Giovanni Pierluigi da Palestrina 03:58
• Giovanni Battista Bovicelli (1550-1594):
• 2 Ancor che col partire (After C.D. Rore) 04:22
• Florentio Maschera (1540-1584):
• 3 Libro primo de canzoni da sonare a quattro voci: Canzon "Decimaquinta" 03:15
• Giovanni Battista Bovicelli:
• 4 Io son ferito ahi lasso (After G. P. d. Palestrina) 07:33
• Giorgio Mainerio (1535-1582):
• 5 Il primo libro de balli: Pass'e mezzo Moderno 03:54
• Riccardo Rognoni (ca. 1550-1620):
• 6 Domine quando veneris (After G. P. d. Palestrina) 05:23
• 7 Ben qui si mostra il ciel 04:17
• Giorgio Mainerio:
• 8 Il primo libro de balli: Saltarello moderno 01:19
• Francesco Rognoni Taeggio (1570-1626):
• 9 Io son ferito ahi lasso passegiato (After G.P. Da Palestrina) 06:11
• Giovanni Bassano (1558-1617):
• 10 Vestiva i colli 04:37
• Francesco Rognoni Taeggio:
• 11 Sonata seconda 05:19
• Giovanni Battista Bovicelli:
• 12 Io son ferito ahi lasso (After G. P. d. Palestrina) 06:56
• Giovanni Bassano:
• 13 Cosi le chiome 04:49
• Giorgio Mainerio:
• 14 La Billiarda: Ballo e saltarello 02:56
• John Dowland (1563-1626):
• 15 A Pilgrimes Solace: Lasso vita mia, mi fa morire 03:32
• Total Runtime 01:08:21

Info zu Con gratia et maniera

In the 16th Century, the most important families of the nobility and rich men of the church vied with one another to hire the best musical virtuosos, to be exhibited with pride as a living demonstration of their prestige. At the same time the musician competed to become famous and eminent. The art of diminution (quick notes that artfully break-up longer note values of the original melody), founded on an age-old improvisatory tradition of virtuoso singers and instrumentalists, flowered especially in the half-century between 1575 and 1625. A wonderful overview of the pieces that flourished in this period. Bruce Dickey is one of today’s most expert practitioners of the Renaissance art of diminution and one of the world’s most accomplished cornettists. Monica Huggett, currently nomiated for a Grammy award for her work with Avie, appears here in her third cd with Galatea, after works by Buonamente and Marini. Michael Chance is known above all for his interpretations of Baroque Opera roles and for his interest in the lute-song repertoire of the Elizabethan and Jacobean periods. These distinguished soloists join Galatea, founded by lutenist and director, Paul Beier.

Michael Chance, countertenor
Monica Huggett, violin
Bruce Dickey, cornetto
Paul Beyer, lute, director
Ensemble Galatea

Paul Beier
graduated from the Royal College of Music, London under Diana Poulton. He has performed in Europe, North and South America and Australia as soloist, director of Galatea, member of various groups and as continuo player in orchestral and opera productions. His solo lute repertoire extends from the Italian Cinquecento to the music of Bach and Weiss. Founder and director of Galatea, he has also collaborated with Aglaia, Aurora, La Cetra, Ensemble Concerto, Nova Ars Cantandi, Pacific Baroque, La Risonanza, etc. His CDs have been well received, earning recognition such as “Disque du Mois” of Répertoire, 5 Diapason, 5 stars of Goldberg, “La Scelta” of Amadeus, etc. Since 1981 Mr. Beier has taught lute, continuo and ensemble at the Scuole Civiche di Milano. He is a founding member of the Italian Lute Society, and is a consulting editor of the Lute Society of America Journal.

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