Jordi Savall and Hespèrion XXI
Le Nuove Musiche: The Baroque Revolution in Europe (1560–1660)
HESPÈRION XXI
Xavier Díaz-Latorre, guitar and theorbo
Andrew Lawrence-King, arpa doppia
Philipe Pierlot, bass and soprano viola da gamba
Xavier Puertas, violone
David Mayoral, percussion
Jordi Savall, director
Soprano viola da gamba, Anonymous Italian, c. 1500
7-string bass viola da gamba, Barak Norman, London, 1697
| RUFFO |
Capricci in musica a tre voci (Milan, 1564) |
| CAVALIERI |
Rappresentatione di Anima, et di Corpo (Rome, 1600) La Pellegrina: Intermedii et concerti (Siena, 1589) |
| HUME |
Captain Humes Poeticall Musicke (London, 1607) |
| ANONYMOUS |
Greensleeves to a Ground |
| SCHEIDT |
Ludi Musici (1621) |
| FRESCOBALDI |
Il primo libro delle canzoni a una, due, tre, e quattro voci (Rome, 1628) |
| KAPSBERGER |
Libro terzo d’intavolatura di chitarrone (Rome, 1626) |
| DE SELMA E SALAVERDE |
Canzoni, fantasie et correnti da suonar (Venice, 1638) |
| FALCONIERO |
Il primo libro di canzone, sinfonie, fantasie, capricci, brandi, correnti, gagliarde, alemane, volte (Naples, 1650) Tiple à tre: Folias echas para mi Señora Doña Tarolilla de Carallenos |
| VALENTE |
Gallarda Napolitana |
Time traveler, globe-trotting adventurer, tireless scholar, virtuoso performer, visionary ensemble leader—Jordi Savall is a gift to us all. Joined by his legendary early-music ensemble Hespèrion XXI, the Cal Performances favorite explores 100 years of history through music in this fascinating new program. The artists travel between the courts and courtyards of Naples, Venice, Rome, Milan, and London, performing works by Emilio de’ Cavalieri, Vincenzo Ruffo, Girolamo Frescobaldi, Andrea Falconiero, and others. We may not know exactly where Savall will lead us as he mines the past for treasures that illuminate new connections between historic people and places, cultures, and movements, but we are always thrilled to come along for the ride. “At this stage of a varied and luminous career, each new risk taken by Mr. Savall—and each moment that he and his ensemble are playing—can still feel like a cultural experience worth the journey” (The New York Times).
Major support for this performance is provided by The Bernard Osher Foundation.