Programma woensdag 6 april 2011

Informatie over de uitvoerende(n)

Luitist Earl Christy is geboren in de Verenigde Staten. Hij studeerde bij Edward Martin en Nigel North aan de Universiteit van Indiana in Milaan bij Paul Beier en in Den Haag bij Toyohiko Satoh, aan het Koninklijk Conservatorium, waar hij zijn Bachelor- en Master diploma behaalde. Earl Christy is vooral actief in het herontdekken van lang verwaarloosde muziek voor de barokluit. Als solist trad hij op in verschillende landen van  Europa en Noord Amerika. Ook op Festivals, zoals het Oude Muziek Festival te Utrecht. Ook als componist voor zijn instrument, is Christy actief. Zijn CD "Neue Lautenfruchte", werd door de internationale pers enthousiast ontvangen. Hij woont momenteel in Nederland.

During the early 17th century a new generation of French lutenists developed a new musical language unique to the lute. Breaking with the vocal models and linear construction of renaissance music, this first generation of lutenists (Mezangeau, Gaultier, Dufault, Bouvier..) adopted a purely instrumental style of broken harmonies and ringing melodic lines based on European dances and adapted the tuning of the lute to best express it. This style called the stile brise’ became increasingly influential in foreign musical centers as French musicians traveled throughout Europe.
Esias Ruesner was the lutenist at the court in Brandenburg in the middle of the 17^th century. His two lute books (Delitiae Testudinis—1667 and Neue Lauten-Früchte—1676 ) are the first published examples of the adoption of the stile brise’ outside of France. The Suite in D Major illustrates the decisive influence the new French style had in Germany. The standard dances (allemand, courant, saraband, gigue) , so common in the French music of Dubut and Gaultier, appear in a clearly delineated order, with the gavotte and passacaglia helping to expand and vary the sequence. Aspects of the stile brise’ are clearly evident, but the clear differentiation of treble and bass marks a particularly Germanic developement.
The Suite in B Minor (2011) reflects my current ambition to understand the whole of the lutenists art. Modern day attitudes of Early Music tends to view performance in a solely historical sense. But the object of most Baroque musicians was not only to be able to perform but also to compose as well. Long before printed music became easily available, most musicians were obliged to compose their own music. The B Minor Suite is a result of my thorough study and interest in the lute music of late 17th century Germany, such as the music of Reusner. The short, dance like movements are alternated with the more languid allemande, saraband and passacaglia. Aspects of the stile brise’ are combined with the more linear aspects of the German music of the period.

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