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토비아스 흄: 감보의 영혼 (GLOSSA 1996)
Tobias Hume (1569 – 1645)
The Spirit of Gambo - All Track Listening |
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Performing artists
Emma Kirkby, soprano
Paolo Pandolfo (conductor), viola da gamba
Guido Balestracci, viola da gamba
Juan Manuel Quintana, viola da gamba
Alba Fresno, viola da gamba
Eduardo Eguez, theorbo, guitar and lute
Production details
Playing time:78'05
Recorded in Sornetan, Switzerland, in December 1995
Engineered and edited by Carlos Céster
Produced by Carlos Céster, María Díaz and Paolo Pandolfo
Design: Carlos Céster
Booklet essay: David Pinto
English, Spanish, French, German)
Release Date: 10/28/2008
Label: GLOSSA |
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Gabriel Metsu, artist Dutch, 1629 - 1667
Woman Playing the Viola da Gamba, 1663
oil on panel 17 5/16 x 14 3/16 (44 x 36 cm)
Roscoe and Margaret Oakes Collection 60.30 |
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TOBIAS HUME : The Spirit of Gambo Album programme
"Musicke"
1 Cease leaden slumber, the Queens New-yeeres Gift (from Captaine Humes Poeticall Musicke) 5:05
2 The Spirite of Musicke (from The First Part of Ayres) 5:19
3 The Pashion of Musicke. Sir Christopher Hattons choice 4:03
4 An Almaine 3:08
"The Spirit of Gambo"
5 Start, The Lady of Sussex Delight, for ensemble 1:52
6 A Pollish Vilanell 2:07
7 The Spirit of Gambo. The Lord Dewys favoret 2:56
8 Sweet ayre (The Earl of Arundel's Favoret, for ensemble) 4:12
9 A Mery Conceit. The Q(ueens) delight 1:56
"Captaine Hume"
10 Captaine Humes Pavan (No 46 in Musical Humors) 4:44
11 A Jigge for Ladies for ensemble 1:05
12 A Souldiers Resolution, (No 11 in Musical Humors) 4:01
13 The Earle of Pembrookes Galiard, for bass & ensemble 2:21
14 Deth, for ensemble 6:36
15 Life (No 13 in Musical Humors) 1:31
16 Captaine Humes Galliard 2:31
17 This sport is ended, for ensemble 1:26
"Love"
18 My Joyes are Comming. the Lady of Bedfords Delight 1:50
19 Fain would I change that note for soprano & ensemble 2:21
20 My Mistresse hath a pretty thing 2:19
21 Touch me lightly (No 38 in Musical Humors) 2:12
22 Tickle me quickly 0:44
23 She loves it well 0:22
24 Hit it in the middle 1:06
25 Adue sweet love 2:14
26 I am Melancholy 4:01
27 What greater griefe, for soprano & ensemble (from Captaine Humes Poeticall Musicke) 4:09
28 Loves Pastime 1:22 |
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토비아스 흄: 감보의 영혼(Tobias Hume: The Spirit of Gambo)
비올과 소프라노를 위한 연주집
17세기 초, 광인으로 알려진 스코틀랜드 출신이 토비아스 흄(Tobias Hume)이 남긴 감보 비올(viola da gamba : 비올라 다 감바) 곡들을 판돌포(Paolo Pandolfo, viola da gamba)와 커크비(Emma Kirkby, soprano)의 강렬한 연주로 감상할 수 있는 음반. 특히 3번 곡 에서 휘몰아치는 격정적인 비올 연주는 소름이 끼친다. 연주자들의 숨소리조차 하나의 음악이 되는 놀라운 음질의 글로싸 대표작. 국내 최초 소개 레코딩 |
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Tobias Hume (possibly 1569 – 16 April 1645)
토비아스 흄(Tobias Hume, 1569(추정)~1645)은 태어난 연도도 단지 추정할 수 있을 뿐이고, 그의 작품도 얼마나 있는지 정확히 알지 못한다. 한가지 확실한 것은 생애 대부분을 군인으로서 유럽 전역을 떠돌아 다니다가, 1645년 4월 16일에 외롭고 가난한 상태에서 죽었으며, 그 이후 400년 이상 망각되어 왔다는 것이다.
17세기 영국의 작곡가이며 비올 연주가였던 캡틴 토비어스 흄은 `캡틴`이라는 칭호가 알려주듯, 직업군인이었다. 그는 대단히 가난했다. 그는 술로서 슬픔을 달랬고, 그런 중에 무엇보다도 음악은 커다란 위로가 되었다. 그는 음악가로서 전문적인 교육을 받지 못했기 때문에 르네상스 비올 작곡가의 연장선상에서 그를 이야기 하는것은 쉬운일이 아닌데 영국에서는 최초로 깊은 소리를 내는 비올을 선호했던 사람 중의 하나였다. 깊고 깊은 음색을 내는 비올이란 현악기 음률에 인생의 모든 고민을 실어 공중으로 날려 보냈다. 흄은 만족할 만한 표현을 위해 새로운 연주법을 시도하기도 했다고 한다고 한다. |
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interviews : 01/10/2006
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Paolo Pandolfo. A portrait |
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Widely admired as a virtuoso exponent of the viola da gamba through his concert performances and recordings of key composers from Germany, France, Spain, England and his native Italy, Paolo Pandolfo has in recent years been concentrating on his instincts and skills for improvising and composing (not to mention continuing with his teaching). An artist who can bring out the expressive vitality and poetry in the viol music of composers such as Sainte-Colombe, Marin Marais or J.S. Bach is plainly also relishing the challenges of other musical explorations that have included, on disc, an unaccompanied tour de force in A Solo and a travelogue (from this artist who is a modern, high-tech nomad himself) in Travel Notes.
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Two years after Travel Notes Pandolfo turns fully to the art of improvisation with his – and his set of friendly musical accomplices – modern extemporizations using musical starting points drawn from the 16th century. Also, as he explains in his booklet note, he looks back to Plato’s discussion of the relationship between writing and oral communication, coming down in favour of the latter, a conclusion that Pandolfo feels very relevant in a 21st century totally dependent on “archived wisdom”. With Improvisando Paolo Pandolfo acts as a guide towards the future, while making a strong case for his own assertion that the viola da gamba is not only a historical instrument bound to music of three centuries ago.
As a musician in the 21st century what does improvisation mean to you?
I see it as a kind of instant composition, consisting of an enormous treasure of assimilated vocabulary that one draws out of oneself in a way which is easily comparable with speaking, because when one speaks one has this treasure of words, ideas, concepts and there is an instant combination of all these factors. It may be no longer fashionable but there have always been attempts to make something more elaborate and special out of words – improvised poetry, for example. This is something that belongs to most folk traditions, which brings us on to improvised music, which has that same immediate feel to it. With music there exists a framework of well-known vocabulary and within it, improvising means combining colours, sounds and words in a way that fits that very moment, an emotion or just a context. For me, improvisation represents both a need and a pleasure. Of course I am fully a classical musician, spending periods of time only concentrating on interpreting, on practising and improving my skills as a performer. But then I tend to find that there is something missing – the need to improvise. Undoubtedly, this is a condition which arises from the beginnings of my musical career, when I hadn’t yet chosen which field I was going to move in and I was spending two years as a jazz player. At that time I experienced the feeling of moving freely within the framework of the chordal and rhythmical structure of a piece, but with you the performer choosing what to do on or over it. That certainly gave me a very special sense of the pure pleasure of playing because with it one has the feeling that it is you yourself saying something in that very moment. That is a feeling which I miss when I am not improvising. So improvising now for me is a little bit like going back to the beginning of my musical experience and refining those sensations and emotions. Even if the framework of my improvisation on the viola da gamba is quite different now to that twenty-five years ago, when I was a double bass jazz player, there are certain characteristic feelings that you experience while improvising which are very much alike.
Doesn’t one need to learn how to improvise, or at least to practice it?
Yes, it is a process which implies the courage of not referring to written music, trying to listen to the sounds that your instrument is producing and combining those sounds with your own creativity. There are, of course, well-known treatises about historical renaissance and baroque improvisation – Diego Ortiz’s Tratado de glosas, and treatises by the likes of Francesco Rognioni or Orazio Bassani – with most of them providing examples and consequently these examples form part of the “repertoire” of an early music musician. Students from previous ages would have practised rather than played them, just to see the way their teacher combined ideas while improvising and then, after having learnt that way, they would themselves improvise. Thus early musicians would have been practising patterns on scales, on intervals, on rhythmical structures. So yes, I have been practising those extracts of improvisation many, many times and one gets to learn the patterns. These were real patterns in the same way that a jazz saxophone player has patterns to practise on. But one thing that I think is very important is the process of “forgetting” – and in this way I am proud of having a bad memory, as I forget very quickly!
Naturally, I think that I can play by heart most of my baroque repertoire but most of the music that I have been “feeding” myself with is somewhere in my brain and it is not always easy to name it.
Improvising also benefits my interpreting and I suppose that this has always been one of the keys of my way of interpreting, as I wouldn’t be capable of playing a musical phrase if I couldn’t understand it as though I was improvising it or writing it. Indeed, there is a process of re-composing the music somehow while interpreting and in order to re-say a word which has been told thousands of times you must say it as if it was the first time.
Imagine an actor, having to repeat the words of a written drama thousands of times. Of course, it is different every time, depending on different contexts, the actor’s own maturity and state of mind, but there is still a written text which implies the process of getting out of yourself in order to jump into somebody else’s personality. When we play with music it is a very similar process and some of us musicians may be content with this; it is perfectly respectable, because it is very profound process and it can imply a life’s work to go deeply into it. But others of us still do need to have a feeling that some of the “words” that they are saying on stage belong to ourselves.
Has the ‘Improvisando’ CD turned out in the way that you originally envisaged?
I think that this recording was a great moment; we made music as I imagine music would have been made on many occasions in the past. As a jazz player I was always hearing about the arrangements of the Charles Mingus Big Band. They would go on stage and they would then decide which instruments would be brought into play and when, and they would keep these structures for that concert. For the next concert it would be different. I worked on the recording with a group of musicians who are, first and foremost, good friends. We understand each other musically and all of us spend some time in our lives dedicated to improvisation. For example, Guido Morini (who plays harpsichord and organ) is really well-known as a skilled improviser. The disc also includes musicians who belong to the classical music world but who have experienced improvised music in their past, keeping both the inspiration and the skill. Thomas Boysen is one – he used to be a pop and jazz guitar player.
I would say that the CD tends to stay “straight” within the late Renaissance patterns which we chose to use. It is an ambitious project and I would be happy if half of it was considered successful because I think that it is important to try and lay out a path which describes a role for playing classical music in today’s world. Of course, I remain very enthusiastic about early music but I do hope that after some fifty years of experience my students will follow different paths: some of them will be more performers and interpreters but others will be musicians in terms of composing or improvising music or maybe combining their skills with other vocabularies, world music, jazz music and so on. I think that it is important for us artists to find a place in the world of today, not only just using the words and the notes that were written three hundred years ago in order to do this, even if we can approach and feel very close to the music that has been written so long ago. To put this into context one can think of Indian music, you can have been listening to a raga performed by sitar and tabla players and afterwards they tell you that “this is four thousand years old”, and yet they are improvising it. It sounds like perfection to me!
by Mark Wiggins
© 2006 Glossa Music / MusiContact |
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interviews : 30/12/2008
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Paolo Pandolfo on Abel, improvisation and the role of music... |
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How would you describe the personality of Carl Friedrich Abel?
I believe that Carl Friedrich Abel holds an extremely important place within the repertoire of the viol, one which should be understood much more clearly by modern music lovers as well as by scholars. I believe also that he represents the perfect point of connection between Baroque and Classical music.In the first instance one should consider his deep rootedness in the world of the Baroque. Johann Sebastian Bach must have been for Abel a crucial influence: something between a close family friend (first in Köthen) and a kind of father figure (in the Leipzig years after the death of Abel’s own father), as well as a teacher in both periods. Thus Abel has imbibed at the richest source of music knowledge and of artistic deepness that the western world has probably ever offered, in addition at a source of deep humanity - that provided by these two close families, the Bachs and the Abels. He was a son of Christian Ferdinand (one of Johann Sebastian Bach’s closest friends, a cello and viola da gamba virtuoso, for whom Johann Sebastian had written the Six Cello Suites) and very soon he must have become an unbelievable virtuoso himself. And in 1758, at the age of 33, as a consequence of the Seven Years War, he walked his way out of the tottering world of the ancien régimes“...on foot, with three Thaler and six Simphonies...” to arrive in the modern ambience of London, where he was to spend most of the rest of his life. There he recreated (in some way) a part of that familiar warmth that he had grown up with in Köthen, dividing friendship and professional collaboration with Johann Christian Bach.
And as a musical figure?
On this new CD I have played a part of what Abel has left as music for the viol, but it would be a mistake to consider Abel simply as a viola da gambist. In fact, as well as being the astonishing viol player and improviser that we can read about in many of the sources, he was fundamentally an extremely well-respected composer. He wrote a significant amount of instrumental music, symphonies, quartets, concertos an so on. I have yet to play his other music but after this experience with the Drexel Manuscript, I strongly feel the need to do so: helping an orchestra, for example, in the performance of Abel’s symphonies, or his concertos for instrument and orchestra. I do hope there will soon be the occasion, and Basle is definitely the right place for this.
What have been the experiences for you of playing the pieces from the Drexel Manuscript?
Immersing myself in deep contact with Abel’s music has been a great experience for me. I felt I was thrown into a completely different world from the one we “viol players” tend to inhabit: no more Baroque suites, no more majestic allemandes or refined courantes, no court gossips chattering away between sarabandes and gavottes... This is music for the pure pleasure of the listeners: music for a paying public which likes to spend an evening forgetting about their daily problems, their ears caressed with sweet sounds. Indeed, music for a rich middle class which has achieved that state of wellbeing which not long before only the aristocrats could afford... And what sounds all this is... classical music... on the viola da gamba! The instrument I most had to think of, while I was recording, was, in fact, the fortepiano. The long resonating sounds building suspended phrases, whose notes drop pure as crystal tears as one finds in Mozart’s concertos for piano, the harmonies which one only understands once the resonance of more notes is fulfilled… Playing Abel’s music has taught me a lot about how an active and lively imagination - along with new artistic and social needs mixed with a true love for the viol - can transform the instrumental and musical vocabulary one has grown up with. Abel respected the viol as a true lover respects his beloved. There was no question of forcing the instrument into the new musical idioms. Nor any sense of competition with the violin or the cello (as we feel in other early Classical era composers for the viol such as Graun). Abel’s is the most natural of the approaches: his embodies the deepest respect for the old and noble nature of the instrument and for its lutenistic origins, and made the viol change into the “perfect classical instrument”!
You make reference in your booklet notes to the “middle-class ritual of the concert” starting with the Bach-Abel concerts in London. Are the connotations of “middleclass” and “ritual” creative or restrictive for you as an artist in the 21st century?
This involves the crucial, existential questions for any artist of any age: “What am I here for?” “What role can my art have within the society I am living in?” “Can I, with my art, properly ‘serve’ it, but also at the same time, ‘improve’ it?” In Abel’s time, the higher arts were moving out of the palaces of the aristocrats to enter the middle-class concert rooms and the homes of such people as well. And this “new” format is basically what we have all grown up with. The changing circumstances in Abel’s day required all the arts to change in a radical way, in order to be able to speak to the new audiences. Our own time is bringing with it new and radical changes within the world’s societies. I believe that all arts have to move and develop once more in order to play an active role within those societies in which we live; in order to “serve” them properly in one sense, but also to “improve” them in other, to bring beauty, dialogue and peace into them. As an artist I cannot say where we are going: today’s world seems too complex - huge migrational streams, vast economic changes, scary environmental changes - I simply feel that we should be ready to move on, as Abel did “on foot, with three Thaler and six Simphonies”, bringing respect and love wherever life will bring us.
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How have your efforts at developing courses in improvisation been progressing?
For the last couple of years I have been saying that I do think that improvising is a skill that all musicians should start mastering again. Abel was clearly a great improviser, as were Mozart, Brahms, or indeed, John Coltrane! I do my best in order to work in that direction, doing “field work” within my own research, as well as including improvising in my teaching in Basle. Recent experiences also include exciting improvising master classes at the Conservatory in Amsterdam.
In your teaching in Basle, particularly, what are you looking for from your pupils?
I look for artistic and human stimulation. I hope that the students learn from me - at least as much as I learn from them. There is an idea clearly taking shape also with Glossa, where we would (and should) make use of the unique opportunity of bringing together such good musicians who are in Basle, maybe on a yearly basis, taking them out of the lecture hall and putting them in front of two good Glossa microphones. We’ll see!
by Mark Wiggins
photograph by Susanne Drescher
© 2008 Glossa Music / MusiContact |
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 잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테. |
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