Historische Posaune
Instrumenta Musica
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Ercole Nisini
Historische Posaune
Instrumenta Musica |
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PROJEKTE
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The Trombone "alla bastarda"
Singing, playing or improvising alla bastarda signifies weaving a melodic line, diminutions or improvisations through the several voices of a motet or madrigal. The most common instrument for this practice at the turn of the 17th century was the viola bastarda - the bass viola da gamba with 6 or 7 strings-which, due to its great tessitura, was able to cover the ranges of the bass, tenor, alto and soprano voices. There are numerous diminutions per suonar alla bastarda based on the most famous motets, madrigals and ostinati of the 16th century. Francesco Rognoni, Giovanni Bassano, Girolamo dalla Casa, Bartolomeo de Selma, and Diego Ortiz are just some of the famous players and composers who wrote diminutions in the bastarda style. The trombone, with its wide range, was also used to play alla bastarda. Francesco Rognoni published his SELVA DE VARII PASSAGGI per cantare, & sonare con ogni sorte de Stromenti ((Milan, 1620) in which he featured numerous diminutions. Among them is the Susana D'orlando. Modo di passegiar per il Violone Over Trombone alla Bastarda. It is a bastarda diminution on Orlando di Lasso's famous Susanne un jour that encompasses all five polyphonic voices. The range is B-flat - f' with long sixteenth-note passages and two-octave leaps that demonstrate the considerable technical ability of trombonists at the beginning of the seventeenth century. In his DE ORGANOGRAPHIA Syntagma Musicum II (Wolfenbüttel 1619), Michael Praetorius describes the trombone alla bastarda quite well "There are such players (among them the famous Master Phileno) who, thanks to assiduous practice, are so advanced in playing trombone that they can play down to low D and high in the soprano voice up to c'' d'' [or] e'' without particular effort and commotion Otherwise I have heard one from Dresden, Erhardum Borussum. He so managed his instrument to play high like a cornetto up to g'' sol re ut, and low like a "Quart-Posaun" (bass trombone) down to A1 with such embellishment and intervals like just it is possible to play on the Viola Bastarda and on a cornetto." For this program of music alla bastarda Ercole Nisini has chosen as the „ideal“ instrument the tenor trombone in G (Sekundposaune). Its baritone range of G1 to d“ is ideal for covering the demands of the repertoire. Further, the central work of this repertoire, Rognoni's Susanna, becomes a graceful challenge instead of a heart-breaking ordeal. Workshop: About playing the trombone after the manner of the 16th and 17th centuries. Mean-tone tuning at A=466 Hz. (High Pitch) Renaissance trombones tuned in A, G, F, and D Klangbeispiel 1 des Projekts (Giovanni Bassano, Anchor che col partire (Recorded on "O vos amici mei carissimi" RAMÉE 0805)) Klangbeispiel 2 des Projekts (Christoph Scheerer, "Es ist ein Ros entsprungen" (Recorded on "In dulci jubilo" VKJK 0911)) |
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