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MP3 Michiel Niessen - Vn' Altra Canzone
12 MP3 Songs
CLASSICAL: Traditional, CLASSICAL: New Age
Details:
Jazz in 1599
Terzi''s "passaggii" as played by Michiel Niessen and David van Ooijen present a top-quality peek at cutting-edge music from 1600. Music that helped form the new style of the 17th century through the breaking of boundaries and the exploration of the extreme limits of the instrument. Much like jazz did for us, recently.
Perhaps this kinship of Terzi''s passaggii with jazz is what keeps them so fresh, after all this time. Perhaps genres come around in different incarnations in different times. Perhaps the Terzis, Dalla Casas and Rognionos were the Ellingtons, Davises and Coltranes of their time. Perhaps we are lucky in our time to have the privilege of being able to hear jazz not in one, but in two guises, from the 1590s and... the 1950s.
“ Michiel Niessen and David van Ooijen have all the answers to Terzi''s technical challenges and at the same time treat the music, the line, and the power with full respect and sensitivity due.”
"...hors categorie..."
"...a single-line filigree that weaves rapidly around the other part. Terzi’s contraponti are so profusely ornamented with diminutions as to be virtually impossible to play..."
"...two books of lute tablature printed in Venice in 1593 and 1599, containing some of the most technically demanding pieces for the lute. Many of these are arrangements of music by other composers, skilfully designed to display his own virtuoso ability as a performer, with his own style of variation and embellishment..."
"...Terzi’s diminutions on madrigals, chansons and instrumental canzonas remind the listener of many aspects of jazz. The free, improvised nature within a composed framework; the virtuosity and ‘show-off’ character; the runs, riffs, jumps and syncopations; the suggested words of a well-known song lyric in an instrument’s performance; and the urge, indeed, the need, to explore the outer limits of an instrument’s possibilities and to go beyond those limits wherever possible..."
Turtle Records: "We try to avoid boundaries of style and tradition by delivering music in the broadest sense of the word as we feel that in our modern world ''Rock'' music is just as Classic as ''Classical'' Music and the latter in its turn can be just as ''groovy''. Turtle Records records music that needs to be recorded, regardless of style, form, background or commercial value. "
Unique quality
In all aspects, this new SACD says: "quality". Nowhere in the chain of ingredients or events has a compromise been made. Quality has been foremost in every step of the way:
Terzi''s music, instrumental passage work on popular vocal pieces of his time, stands out as some of the most technically demanding compositions for the lute, yet always seems ephemeral, floating, elegant, exciting, and, yes, jazzy.
The recording was made in SACD format, using state-of-the-art equipment in a zero-decibel concerthall, shaped into a beautiful soundscape by recording engineer Bert van der Wolf.
Recorded on six different lutes, true copies of 17th century originals, by several of the best luthiers of today.
Galaxy Studio in Mol, Belgium, stands out as one of the most driving residential studio complexes of this day, both in technology and creativity.
An entertaining, breathtaking and impressive display showing the full scope of possibilities of the lute, performed on a collection of fine copies by renowned lute makers.
BIOGRAPHY Michiel Niessen
Born in The Hague, Netherlands in 1963,
Michiel Niessen received his first guitar lessons at the age of eight. At fourteen he moved on to the lute. Having completed his classical education, he enrolled in the Royal Conservatory of The Hague, to study lute with Toyohiko Satoh. He graduated with honours in 1986 and 1988 with a teacher’s and soloist’s diploma. During his studies, Michiel won third prize in the first (and only) international lute-competition in Toronto, Canada, as the youngest and only student participant.
Michiel Niessen went on to shape a career as soloist, accompanist and orchestral player.
Other musical activities include composing and arranging film music scores (“Daedalus’ Daughter”, “Rembrandt”, “Orfeo”).
Michiel likes to expand the boundaries of his instrument by moving into crossover styles, ethnic and proto-authentic instrumentation, amplification and electronic influences.
He plays exclusively on instruments made for him by renowned maker Richard Berg (Ottawa, Canada) and on a rare original arciliuto from Venice, around 1600.
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