La Bastarda Book

[Kena Sugrue]

Thisdouble CD gives a panoramic and exhaustive overview of the repertoire for the so-called Viola Bastarda, a six-string viola da gamba using various different tunings to enable the performance of large scale virtuosic diminutions and passaggi on madrigals and chansons of the mid-16th century.

Master gambist Roberto Gini plays on a reconstruction of an instrument with label Gasparo da Sal and bow after a wonderfully detailed design by Samacchini. He also uses the specific bowing technique with two fingers on the stick of the bow.

About the Viola Bastarda

I also wanted to make this little effort to make diminutions on some songs and madrigals a4 to be played on the viola bastarda, in which discipline you touch all parts, as those intelligent people do that do this for a profession.

Girolamo Dalla Casa 1584.

En los aos cincuenta, el condado de Greenville, en Carolina del Sur, es un lugar salvaje y exuberante, hermoso y terrible. Huele como en ningn otro sitio: a hierba recin segada y manzanas verdes, a paales y cerveza, a perfume barato y aceite de motor. All vive la familia Boatwright, un clan de hombres toscos y bebedores que se lan a tiros desde sus camionetas a la primera de cambio y de mujeres ingobernables que se casan demasiado pronto y envejecen demasiado rpido. Una estirpe regida por el desempleo, la inestabilidad, la violencia y los embarazos adolescentes, y que vive en los porches todo el verano, tomando t helado, pelando habas y escuchando las historias de la abuela o las melodas de los grillos.

En el corazn de esta novela autobiogrfica sobre una joven que se enfrenta al abuso y el desamparo, se encuentra Ruth Anne Boatwright, apodada Bone, una nia bastarda que observa y narra el mundo que la rodea con una mirada despiadada y lcida, con una mezcla de naturalidad y agallas, y tambin con un humor irreverente y sin escrpulos. Su desgarradora historia rezuma rabia, pero tambin generosidad y amor.

The term "viola bastarda" refers to both an instrument and a style of playing that is one of the crowning achievements of musical mannerism. The Italian repertory for the solo viola da gamba in the 16th and early 17th centuries was largely music played "alla bastarda," an art of performance in which a polyphonic composition is transformed into a single melodic line derived from the original parts and spanning their ranges.

Jason Paras has traced the development of the "viola bastarda" and has assembled and transcribed 46 peices in this genre. The music in his collection is a rich and fascinating repertory that is rarely heard today. This anthology is an invitation to present-day players to recreate the improvisation practice of the 16th and 17th centuries in ways not fully disclosed by ornamentation manuals of that time.

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