Luogo e data di registrazione		Sankt Martins-Kirche, Basel (Svizzera) - giugno 1972
	Registrazione: live / studio		studio
	Producer / Engineer		Gerd Berg / Johann Nikolaus Matthes
	Prima Edizione LP		EMI Electrola "Reflexe" - 1C 063-30 110 - (1 lp) - durata 48' 01" - (p) 1973 - Analogico
	Prima Edizione CD		EMI "Classics" - 8 26477 2 - (1 cd) - durata 48' 01" - (c) 2000 - ADD
	Note		-

Around the year 1600, Giovanni Gabrieli’s spring madrigal “Lieto Godea” (Concerti, 1587) was enjoying great popularity in a number of European countries. This is borne out by the various arrangements of it by Phalèse (1591), Banchieri (1596) and Schütz (1619). In his 111th Psalm, the latter used it in an instrumental setting as an “Imitazione sopra ‘lieto godea’ di G. Gabrieli” and in a vocal setting with the German text of “Glory be to the Father.” There is also a version for two lutes by Joachim van den Hove (1601). Gabrieli’s note “per cantar e sonar” refers specifically to the tradition of vocal and/or instrumental performance. The “cori spezzati” style - an alternation with “interrupted choirs” - comes out particularly clearly when two different kinds of instrument are used. That is why the lute and the harpsichord are set off one against the other in this recording. The traditional madrigal style - with its generally simple declamation of the text - comes through even in an instrumental arrangement of this kind. There is a mutual balance between the parts; the melodic line is diatonic and moves within fairly narrow limits; the harmonic sequences are determined by the logical manner of composition. But around 1600 a new style, originating in Italy, began to conquer Europe. The instruments were now given individualistic treatment, and the basso continuo supported solo passages of a novel kind. New forms of composition and new ways of playing came into fashion. The “stilo concitato" invaded instrumental music, too. The savouring of contrasting, rapidly changing emotions called among other things for a “gradual crescendo and diminuendo of the note” and the use of “sounds both cheerful and sombre” (Pietro della Valle, 1640). These were both taken over into instrumental from vocal music. Expressiveness was now increased by the use of a chromatic as well as a diatonic melodic line. The scope of the instrumental sections was extended in both the upper and lower ranges. The depiction of the various emotions was given harmonic emphasis by unexpected modulations. The solo pieces now being written were no longer merely “useful and handy” or “delightful to sing and playable on all sorts of instrument." The heightening of expression brought with it the development of a personal style of execution in which “each performer displayed virtually a manner of his own according to his talents” (Tobias Michael, 1637). The new instrumental style developed step by step. As late as 1618/19, Michael Praetorius attempted to define the difference between Sonata and Canzone by saying that “Sonatas are grave and magnificent in the manner of Motetts, whereas Canzoni are fresh, frolicsome and fleet, with a wealth of black notes.” However, this distinction applies at best only to the first phase of the new epoch. Soon there were frequent overlappings between the two forms. Around 1620 they were both marked by frequent changes of tempo and expression. A special characteristic was declamatory Adagio sections requiring changes of tempo (cf. Frescobaldi, Castello). In 1596 Lodovico Zacconi, a champion of the traditional style of performance, was still demanding strict observance of the tempo. This also applied to passages of demi-semiquavers, which he said had “only recently been invented” for instrumental music. But Giulio Caccini in 1602 and Girolamo Frescobaldi in 1614, among others, were describing modifications of tempo as absolutely essential for good performance. The Sonata was brought more in line with the Canzone by a further increase of the virtuoso element in the new instrumental style, expressed in headlong gallops, huge leaps, changes of rhythm, Lombardic figures and embellishments of various kinds (cf. Castello, Cima). In the Toccata (cf. Frescobaldi’s Toccata per Spinettino e Violino) the proximity of improvisation is made apparent by the free rhapsodic sections standing in contrast to running passages and broken figuration. In other compositions, old and new are combined in an original fashion. Imitative writing in the older Canzone style and novel Capriccio sections with witty changes of tempo are boldly contrasted with each other (cf. Neri, First and Third Movement). Traditional rhythmic patterns are set off against unusual, fluctuating, syncopated ones (Second Movement). By imitating a melodic line at intervals of a fifth in the various parts, Frescobaldi, too, introduced elements of the older polyphonic style into the new monodic one. The collection of Martino Pesenti acquaints us with delightful examples of the dance music of the time. In it, the dances are presented at random, so it is for the individual to choose the order of the Correnti, Gagliardi and Balletti. Incidentally, the use of such keys as B minor and G sharp minor is worth noting, as these were uncommon at that time. Only the treble and bass parts are noted down, the composer allowing complete freedom of instrumentation by his remark “per sonarsi nel Clavicembalo e altri stromenti.” The choice of instruments is also open in most of the other works in this recording. The use of recorder and viola da gamba in the previous period continued into the new one. The violin, coming into fashion in the early Baroque era, was given a variety of tasks. The use of a bassoon for the continuo, and the fact that it was occasionally preferred to a cornet for the melodic line, are often borne out by contemporary writers (e. g. Buonamente in 1626 and de Selma in 1638). Under Spanish influence, the guitar came to Italy to rival the familiar lute. And finally, the harpsichord and chamber organ were used both solo and continuo purposes. Hans-Martin Linde Translation by David Potter Das Linde-Consort Linde Consort is a free group of instrumentalists working, above all, in Basel - some of them teaching at the Schola Cantorum Basiliensis. Numerous recordings and concerts proved the rich variety of differing cast this ensemble disposes of. Part of the group’s work is dedicated to the performance of baroque compositions for wind instruments and strings. This includes chamber music casts as well as music for chamber orchestra. Some of the instruments used are originals from the 18th century, some are copies of historic examples. The group specialises in a performance in ‘Broken Consort’. For this, a model cast as described by Morley (‘Consort Lessons’) is gathered, i. e. violin, bass recorder, viola da gamba, lute, cittern and pandora. Linde Consort also performs music for recorder ensembles with or without thorough-bass. In Europe and overseas critics unanimously confirmed that Linde is one of the most outstanding flutists of our days. He conducted and directed various ensembles in concerts (as e. g. at the 1970 Heinrich-Schütz-Festival in Herford or the English Chamber Orchestra in 1972) and recordings (as e. g. the concert group of the Schola Cantorum Basiliensis).
EMI Electrola "Reflexe"