Diego Ortiz (ca. 1510 - ca. 1570)
Recercadas del Trattado de Glosas, Roma 1553

Alia Vox AVSA9899
Code-barres/Barcode:
7619986398990

Édition remasterisée

Remastered edition

Super Audio CD

 







 


Description

Artistes / Performers
Jordi Savall, Ton Koopman, Lorenz Duftschmid, Rolf Lislevand, Paolo Pandolfo, Andrew Lawrence-King

Lieu d'enregistrement / Recording site:
Pieve de S. Martino, Emilia
Dates d'enregistrement: Avril 1989
Recording dates: April 1989

Durée totale / Total time: 49"35

 
   

Édition originale/Original recording
Astrée - 8717

Ré-édition - Reissued
Naïve  9967



 

 

En 1553, paraît à Rome son Tratado de glosas sobre cláusulas y otros généros de puntos en la música de violones nuevamente puestos en luz, publié en espagnol et en italien. Les glosas sont des variations interprétées soit par des solistes soit par deux musiciens jouant d'instruments semblables. Ce traité présente également des recercadas (ou ricercari), principalement des variations musicales, pouvant être jouées par de petits groupes d'instrumentistes.

(Wikipedia)

The Trattado de Glosas (modern Spanish spelling Tratado de Glosas) is considered a masterpiece of literature for the viola da gamba. The work was published on 10 December 1553, in Rome under the Spanish title Trattado de glossas sobre clausulas y otros generos de punctos en la musica de violones nuevamente puestos en luz. Its Italian title is Glose sopra le cadenze et altre sorte de punti in la musica del violone.

(Wikipedia)

Évaluations recensées / Reviews located



05/1991
(see below)


# 363 (09/1990)
(voir ci-dessous)
618 (11/2013)


# 33 (06/2091)
(voir ci-dessous)


14:3 (01-02 / 1991)
(see below)



John Sunier   


(01/2014)
(see below)


Diego Ortiz (ca. 1510-ca.1570


Diego Ortiz (c. 1510- c. 1570)


Extrait du livret / From the liner notes

Le 10 décembre 1553, en l’un des moments privilégiés du rayonnement de l’âge d’or musical espagnol, fut imprimé à Rome le TRATTADO DE GLOSAS SOBRE CLAUSULAS Y OTROS GENEROS DE PUNTOS EN LA MUSICA DE VIOLONES NUEVAMENTE PUESTOS EN LUZ de Diego Ortiz, connu aussi sous le nom de « el Toledano ». Référence incontournable pour l’étude de la pratique instrumentale du XVIe siècle, cette œuvre présente un intérêt exceptionnel, tant du point de vue purement historique que par sa valeur artistique, puisqu’elle contient les plus beaux exemples du répertoire connu pour viole de gambe (vihuela de arco ou violone) et clavecin au temps de la Renaissance.

 Peu nous est connu, à ce jour, de la vie du violiste et compositeur espagnol Diego Ortiz. Les premières traces de son existence coïncident avec la date de publication à Rome du Trattado de Glosas (1553). L’étendue des connaissances que suppose la réalisation d’une telle œuvre incite à penser qu’elle a été composée alors qu’Ortiz était déjà un homme mûr (composée ou rééditée, si toutefois il venait à se confirmer que le contenu du traité a été « remis à jour » en cette année 1553). Lorsqu’il quitta son pays natal, Diego Ortiz avait déjà acquis une formation musicale complète. On en veut pour preuve l’aspect nettement précurseur de son traité du strict point de vue de l’écriture musicale. Une comparaison avec la Regola rubertina (Venise, 1542-43) de Sylvestro Ganassi, traité publié dix ans avant celui d’Ortiz et dédié tout particulièrement à l’étude de la technique violistique, ainsi que le caractère indéniablement hispanique de l’œuvre de Diego Ortiz, confortera l’hypothèse suivant laquelle Ortiz avait déjà acquis une formation musicale complète lorsqu’il quitta son pays d’origine. Toutefois, malgré de récentes recherches menées dans sa ville natale, nous continuons d’ignorer les dates exactes de sa naissance, le lieu où il reçut sa formation musicale, ainsi que le type d’activité qu’il exerça avant son voyage en Italie.




Extrait du livret

On 10th December, 1553, at one of the highpoints in the Golden Age of Spanish music, there appeared in Rome the TRATTADO DE GLOSAS SOBRE CLAUSULAS Y OTROS GENEROS DE PUNTOS EN LA MUSICA DE VIOLONES NUEVAMENTE PUESTOS EN LUZ by Diego Ortiz, who was also known under the name “el Toledano”. An inevitable reference point for the study of instrumental performance practice in the 16th century, this work is of exceptional interest, both for its purely historical significance and for its artistic value, since it contains the finest examples of the known repertoire for viola da gamba (vihuela de arco or violone) and harpsichord in the Renaissance period.

We know little today about the life of the Spanish viol player and composer Diego Ortiz. The first signs of his existence occur at the same time as the publication in Rome of the Trattado de Glosas (1553). The extent of knowledge required for the compilation of such a work leads us to think that it was composed when Ortiz was already in his maturity. It was composed – or revised, which seems to be the implication of the indication that the treatise was “nuevamente puestos en luz” (newly published), in the year 1553. By the time that he left his native country, Diego Ortiz had already completed his musical education. This is shown by the clear pioneering nature of his treatise from the strict point of view of musical style. A comparison with Sylvestro Ganassi's Regola rubertina (Venice, 1542-43), a treatise printed ten years before that of Ortiz and specifically dedicated to a study of viol technique, as well as the underniably Hispanic character of the work by Diego Ortiz, supports the hypothesis that Ortiz had already completed his musical education when he left his native country. However, despite recent research in his native town, we still do not know the exact date of his birth or the place where he received his musical education or even what he did before he undertook his journey to Italy.





From the liner notes

 

 


 

Gramohone
(05/1991)

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Reviewer: Tess Knighton

The importance of Diego Ortiz's Trattado de glosas (1553) for our understanding of instrumental composition and practice in the sixteenth century has long been acknowledged in the text books of music history. What has been less readily appreciated—largely for want of a decent recording—is the value and interest of the music Ortiz composed by way of illustrating his technical points on how to ornament and improvise. To remedy this situation, Jordi Savall with a continuo team including such stars in their respective fields as Ton Koopman and Andrew Lawrence-King, has recorded a carefully chosen selection of the various kinds of pieces advocated by Ortiz in persuasive and impressively technically-assured performances. Indeed, listening to Savall's total assurance on the gamba, the sheer range of tone colour he has at his fingertips and the apparent ease with which he negotiates the trickiest of passages, reminds one of his great musical strengths, not so readily appreciated, I've found, when he substitutes the baton for the bow—as, rather sadly, seems to be increasingly the case these days.

Most immediately appealing to the nonspecialist listener will undoubtedly be the selection of recercadas (or ricercars) on well-known ground basses, each given a varied treatment in terms of continuo accompaniment and strongly characterized by Savall who brings out now the plaintive, expressive qualities of his instrument, now the rhythmic, dancey edge of the chiff of bow on string. The playing is always stylish, never mannered, with the unfettered feel of the imaginative improviser: for once, a note that describes the instrumentalist's art as ''stripped of all transcen- dental pretention but abounding in life, imagination and spontaneity'' can be accurately applied to the recording itself.

Savall is admirably supported at every turn by his continuo team; my only slight reservation about the recording is the distracting whisper of the blower in the organ-accompanied items. The inevitable penalty of a closely miked recording such as this, it is a small price to pay for the pleasure of the disc as a whole.
Diapason- 618
(11/2013)

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Analyste: Gaëtan Naulleau

- Les hifistes se pâmeront avec l'album Diego Ortiz, pour lequel Manuel Mohino signait en 1989 une prise de son anthologique. La grosse viole italienne de 1550 au grain rugueux est là devant nous, à portée de main, légèrement à gauche, secondée par quelques compagnons (orgue, harpe, violone, vihuela); on voit les légers mouvements de Savall et de son instrument, on suit la propagation du timbre dans l'espace. Magnifique. Il n'en fallait pas moins pour que nous appréciions à sa juste valeur la relecture du recueil publié par Ortiz à Rome en 1553, à l'origine catalogue de gloses - autrement dit, manuel illustré d'improvisation - mais ici véritable De natura sonoris. Sous l'archet du magicien, les diminutions d'Ortiz ne sont plus des notes ajoutées, mais une façon de faire "vibrer" autrement la matière résonnante du timbre".
Diapason- 363
(09/1990)
 

Appréciation 

4 diapasons

Evaluation

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Analyste: Denis Morrier
En abrégé: 

Denis Morrier souligne à juste titre l'importance de cet enregistrement consacré aux "recarcadas" de Diego Ortiz. Il écrit: "C'est ... une nouvelle révélation qu'apporte Jordi Savall (comme chaque fois dans ces répertoires anciens qu'il aborde avec une ouverture d'esprit peu commune, ...) ; non seulement celle d'un musicien-théoricien fameux ..., mais aussi  celle d'un art bouillonnant et tumultueux, animé de passions exacerbées et de tensions sans cesse ravivées".

Il ajoute plus loin que "Jordi Savall offre un large aperçu des différentes formes de ricercadas répertoriées par Ortiz (seules celles sur des mélodies grégoriennes ne sont pas représentées), agrémentant ses choix par des accompagnements d'une grande variété, toujours admirablement réalisés. On peut ainsi apprécier la volubilité et l'exubérance rythmique coutumière à Ton Kookman dans ce répertoire - le claveciniste n'hésitant pas à engager de véritables joutes virtuoses avec le soliste - ainsi que l'invention et la délicatesse du harpiste Andrew Lawrence-King. Aussi admirablement soutenu, Jordi Savall peut donner libre cours à son inspiration poétique, déniant tout sens exclusivement décoratif, mais leur offrant au contraire une vraie dimension dramatique, faisant d'elles les vrais guides et révélateurs des pièces variées."

Morrier conclue son article en qualifiant Savall "d'Ange de la Viole  (qui) nous livre ... un nouveau miracle, magnifiant ces oeuvres didactiques pour mieux illuminer, d'une lumière insoupçonnée, l'art finalement bien méconnu de la Renaissance".
Reviewer: Denis Morrier
Abridged version :

"Denis Morier underlines quite judiciously the importance of this recording of the "recarcadas" of Diego Ortiz. He writes: " This is "... another revelation from Savall (as always in those ancient repertories that he explores with such an open mindedness,...); not only does it come from a famous musician and theorician..., but it stems from a buoyant and tumultuous art, full of exacerbated passions and tensions which are continuously revived."

As we read on, he mentions that "Savall provides a broad selection from the various types of  ricercadas located by Ortiz (only those based on Gregorian melodies are excluded), thus embelishing his choices with accompaniements of a wide variety, always splendily performed. We can appreciate the volubility and the rythmic exhuberance which characterizes Ton Koopman's performance - the hapsichordist often engaging in truly virtuso exchanges with the soloist - as well as the inventiveness and delicacy of the harpist, Andre Lawrence-King. Being so well supported, Jordi Savall can let go all his poetical inspiration, without adornments, but giving to these pieces on the contrary a truly dramatic dimension... ".

Morier concludes his review by branding Savall as "the angel  of the viola da gamba who performs... another miracle, giving a new dimension to these didactic pieces and puts them in a new perspective, shedding a new light on the Renaissance period."



14:3 (01-02 / 1991)

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Reviewer: J. F. Weber

The “Trattado de Glosas“ was published in Rome in 1553 by Diego Ortiz, an émigré Spaniard from Toledo whose previous years have left no trace, although he was clearly a mature artist educated in his native country. It should be no surprise that he then went to Naples where he directed the music at the court of the Spanish viceroy, who was also from Toledo.

This work is actually a tract on viol playing illustrated by musical examples. There are several types of Ricercadas (or ricercari) represented in this selection, including a whole group based on “La Spagna“ and a couple of short ones on “La Folia“; other groups are based on Arcadelťs O felici occhi miei and Sandrin's Doulce Mémoire. Some of these selections were the first examples of Ortiz ever recorded, on an August Wenzinger disc (Archive ARC 3078), part of which was issued in Europe as a 45-rpm single in the early 1950s.

Savall uses his ensemble to render these pieces with considerable variety. Their skill is familiar, as is their interest in neglected repertoire. The recording is very fine, captured in a suitable location in Emilia not familiar from previous disc credits. Savall's notes tell what little is known about the composer and concentrate on the technical aspects of the music. Ortiz is better represented on discs than before, but this must be one of the best productions he has ever received.

Classica- # 33
(06/2001)

Appréciation 

Note: 5

Evaluation

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Évaluation collective par  par J.-N. Coucouroux, S. Friedrich, S.Perreau

Texte abrégé

Les analystes de Classica constatent que "Savall réussit ... à faire de ce recueil (du Castillan Diego Ortiz) un simple jeu d'une aisance confondante, où l'harmonie osée et les prouesses techniques semblent naturelles". On nous souligne que " peu d'artistes se sont penchés au disque, sur le fameux Traité des Gloses de 1553, laissé par le Castillan Diego Ortiz aux générations de violistes suivantes. Ce recueil, sorte d'exemple rituel de l'art de l'ornementation (Glosas), ou plus exactement de la *diminution* sur un thème simple, est aujourd'hui principalement connu des interprètes pour son extrême difficulté et son côté didactique."
 
Reviewer:  Collective review signed by J.-N. Coucouroux, S. Friedrich, S. Perreau

Abridged version in a free translation:

The reviewers acknowledge that "Savall succeeds... in making an stunningly easy game of this collection of works by the Castllian composer Diego Ortiz. The technical prowesses and the challenging harmony of the pieces all seem so natural. They mention that few musicians have tackled this famous 
Recercadas del Trattadoleft by Diego Ortiz to the next generations of viol players. This collection, a sort of formal example of the art of ornamentation (Glosas), or to be more specific of the diminuendo on a simple theme, is nowaday essentially recognized by musisians for its extreme difficulty and its didactic value."

(01/2014)

 

Reviewer:  Christopher Price

Abridged version

This is the sixteenth disc in Alia Vox’s ‘ Heritage Series ’ reissuing the recordings made by Jordi Savall and his ensemble Hespèrion XX for the Astrée label in the 1980s and 1990s. There are no musical additions to the original programme and the booklet provides Savall’s original notes, giving a detailed account of the little that is known about Diego Ortiz and an informative description of the music from his Trattado de Glosas of 1553. The bonus, besides the glossy new packaging, is that this hybrid SACD contains not only the original standard CD recording but also two high-resolution versions in DSD format, one stereo and the other multi-channel. The stereo DSD version, which can be played only on a dedicated SACD player, certainly sounds more detailed and airier than the already impressively sound- engineered original CD version, with the balance between Savall’s solo viol and the accompanying instruments benefiting especially from the new format. As with earlier discs in the ‘ Heritage Series ‘ , the surround-sound effects (or front centre and two rear speaker tracks) on the multi-channel version have been synthesized from the original stereo CD recording by Alia Vox’s engineer Manuel Mohino. Not having a multi-channel set-up in my hi-fi system, I cannot say how convincing it sounds.

The performances certainly remain utterly convincing. Since its original appearance in 1990, Savall’s recording (his second after a less accomplished account for Hispavox in 1970) has remained the ‘classic’ account of the music from Ortiz’s Trattado de Glosas, which the Toledan viol virtuoso published in Rome instead of his native Castile (hence the misprint of the Spanish ‘tratado ‘ with a double ‘t’). It would be difficult to make this music sound less than captivating, of course. Despite their didactic purpose of illustrating Ortiz’s technical explanations of how to ornament and improvise variations, these pieces have considerable musical interest, especially the set of recercadas (in effect fantasias) on the basse-danse La Spagna and nine recercadas on a selection of toe-tapping Italian grounds, including La Romanesca and La Follia , which remained immensely popular with composers of the next two generations after Ortiz.



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Autres références disponibles via la base de données de Todd McComb/ Other available references  via Todd McComb's database:
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Goldberg Magazine - 1998-2008 - Les 50 meilleurs cd de la décennie

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Goldberg Magazine - 1998-2008 - The 50 best cds of    the decade



Dernière mise à jour de cette fiche:
2021-01-07



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01/07/21

  

 

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