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BIS-CD-799 STEREO lEEpl Total playingtirne;74'28 CORBETTA, Francesco (161b-16s1

BIS-CD-799 STEREO lEEpl Total playingtirne;74'28 CORBETTA, Francesco (161b-16s1) Guitar Music Folias D minor 3'05 Preludium Chiacona I c -u;o. 1'09 3'03 Preludium Almanda Corrente E minor 1 0 1 2',05 1 ' O / l Partie de chacone C major tr tr tr tr tr tr tr tr tr @ E tr tr tr g @ tr @ 2 2',47 l'44 1 3 0 Allemande Sarabande Air de Tlompette I o -u,o. l Follie G minor Pr6lude Allemande Courante Sarabande Gigue ]o-,"". 0'38 3',12 2'7r 2',37 l r e a Pr6lude Caprice de chacone G major C major l'29 2'37 Pr6lude Allemande Courante Sarabande Gigue Passacaille ]"-'". l'07 3',17 l'27 2'.t9 2'70 2',44 @ @ E @ tr @ tr @ @ tr @ @ @ Pr6lude Allemande sur la mort du Duc de Gloucester Menuet Chaconne C minor C minor C major C major 0'4r 6',23 1'10 2',05 Allemande aym6e de I'auteur Gigue aym6e du Roy ] c -i.'o, s',44 0'58 Folie D minor / 1 9 r y Jakob Lindberg, baroque guitar INSTRIJ']}IEI\]"TARIUM Five course baroque guitar by Robert Eyland, Devon 1979. Strings are all in gut and tuned in accordance with Corbetta's specifications in La Guitarre RoyaIIe (1671). The 3rd course and the lower octave of the 4th course are smooth, double-twisted gut strings made by Mimmo Peruffo. Fiinfchtirige Barockgitarre von Robert Eyland, Devon 1979. Darmsaiten, in Uberein- stimmung mit Corbettas Angaben in La Guitane Royalle (1-671) gestimmt. Der dritte Chor und die Unteroktav des vierten Chores sind weiche, doppelt gedrehte Darmsaiten, von Mimmo Peruffo hergestellt. Guitare baroque d cinq jeux de Robert Eyland, Devon 1979. Cordes de boyau accordees suivant la spdcification de Corbetta dans Za Guitone Royolle (1677). Le 3" jeu et l'octave basse du 4'jeu sont des cordes de boyau souples d double vrille de Mimmo Peruffo. ,Fl{lhe 17th century offers scholars and performers a fascinating period in the ' I thirto.u of western music. New and exciting developments in musical styles I "-e.g"d and many instruments were subject to extraordinary transitions to meet the demands of experimenting performers. This is particularly true of plucked instruments. The lute was extended in the bass register, receiving as many as 19 courses, and a variety of solutions were found to accommodate these added strings. Many tuning systems were developed, eventually arriving at the standard baroque lute tuning for the solo instrument (outside Italy) and various re-entrant versions of the renaissance tuning for most types of continuo instrument' Although the guitar did not adopt the extended bass register of the lute, a larger version of the four-course renaissance guitar evolved to which a fifth course was added. Thus it remained relatively uncomplicated and this must have contributed to its growing popularity. In some places it threatened the lute as the preferred solo instmment of the nobility and one of the most important musicians responsible for this was Francesco Corbetta. Francesco corbetta was born in Pavia in 1615. He was attracted to the guitar from an early age: 'From his youth he was so fond of this instrument, that his parents, who had destined him for something different, used caresses and menaces in vain to detach him from the study ofit. He continued studying with such great success, that he astonished first of all the musicians of ltaly.' (obituary in Mercure GcLlant, April 1681.) He firs1 established his fame in Bologna where he was supported by pupils and patrons from the Bolognese nobility. It was there that he published his first book of guitar music in 1639 which was chiefly intended for beginners, but in the preface he promises a second book with music ofgreater perfection. The book demonstrates Corbetta's often daring harmonic language as well as his command of the ros- gueado (or strumming) style and it helped to establish a school of guitar playing in Bologna; among Corbetta's followers were Calvi, Granata, Peilegrini and Roncalli' Four years later Corbetta's Varii capricci per la ghittara spagnola appeared' This was dedicated to Carlo II, Duke of Mantua and Monferrato, and published in Milan. There is no evidence that Corbetta was employed by the duke but this con- tact certainly helped him to further his career and also to establish an interna- L tional reputation. we know that he visited Spain shortly after 1648 (where it is believed that he worked on his now lost third book ofguitar music) and, according to the historian Jean Benjamin De Laborde, it was the Duke of Mantua who sent Corbetta to the young Louis XIV to teach the Dauphin to play the guitar. Thrs was probably at the request of Cardinal Mazarin (the successor to Cardinai Richelieu), who was a Sicilian and keen to promote Italian musicians at the French court. A contemporary observer writes: 'I believe it is proof of the greatness of His Majesty that they say he equalled, after 18 months, his guitar master whom Cardinal Mazarin had brought from Italy expressly to teach him to play this instrument, much in vogue at the time.' Corbetta did not stay in France for long. He continued his travels and published his fourth book,Varii scherzi di sonate per le chitara spagnola, in Brussels in 1648. It was dedicated to the Archduke of Austria and, Iike the two earlier surviving books, begins with a number ofpassacaglias. These are followed by a chaconne, five short suites, some courantes and sarabandes alla francese and a set ofvariations on the folia. At the end of the book there are some exercises in playing from a figured bass which are almost identical to the ones in the book of 1643. It is believed that Corbetta stayed in the archduke's service for some time before he was appointed court guitarist at Hanover in 7652. Only a year later, however, he left this post to go back to France. Political unrest had led to civil war there in 1649, but now Cardinai Mazarin had returned from exile and was reinstated as chief minister. He presided over the coronation ofLouis XIV in 1654 and this marked the beginning of a second wave of Italian musicians arriving in France. The King, then only fifteen years old, was a keen dancer. Voltaire wrote of him: 'The only thing he ever learned was to dance and to play the guitar.' No wonder then that Jean-Baptiste Lully, a Florentine composer of ballets and also a fine guitarist, had such success at court. Mazarin ordered a ballet from him for the Carnival of 1656 in which the King per- formed the latest French dances himself. It was called -Le Ballet de la golanterie du temps and Corbetta took part, leading an ensemble ofguitars. Another royal figure who was fond of the guitar was Charles II. He was first cousin of Louis XIV and his mother Henrietta-Maria brought him to France to stay with his relatives during the civil war in England. It is likely that he first heard corbetta,s guitar playing at the French court in the 1640s and this may have inspir- ed him to learn to play the guitar himself. He owned a fine instrument (now in the Victoria and Albert Museum, London) and Samuel Pepys, who was in charge of some of the King's belongings u'hen he returned to England in 1660, refers to it in his diary: 'Out ear1y, took horses at Deaie. I troubled much with the King's gittar, and Fairebrother, the rogue that I had entrusted with the carrying of it on foot.' A few weeks before charles II left Breda for Dover corbetta played there, and shortly after Charles' coronation the King's brother died and Corbetta wrote music to lament his death. It seems likely that the guitarist accompanied charles II on his triumphant return to England. Corbetta spent some prosperous years in England where his guitar playing re- ceived much acclaim. The guitar was becoming a fashionable instrument, not least because the King played it himself, and Corbetta was in demand as a teacher, per- former and composer. Most of his wealth, however, he accumulated from a very different source; in 1661 the King granted him a patent prohibiting any other per- son from setting up the game of ljAcca di Catalonia. This was a betting game which had been very popular in France some decades earlier. corbetta introduced it into England and managed to net substantial profits from an unsuspecting public who were led to believe that the odds of winning were much greater than they actually were. Town and country fairs were particularly lucrative. Soon the King received requests to outlaw the game since it ruined many young men. Petitions asked for 'protection against the sinister practices of Francisco corbett and his associates' and in 1664 Corbetta's licence was revoked and the King outlawed all lotteries except for the one monopolized by his brother, the Duke ofYork. Corbetta dedicated his next book ofguitar music to King Charles II. It was pub- lished in Paris by Hierosme Bonneiiil in 1671 with the Litle La Guitarre uploads/s3/corbetta-guitar-baroque-lindberg.pdf