Paul Beier

Eleven imaginative and melodically striking vocal pieces from a collection published in 1660, towards the end of the relatively short life of one of the most famous female composers, Barbara Strozzi. Ranging in length from two minutes to 14 and with a variety of moods to match, they are performed with feeling (though not a lot of colour) by Emanuela Galli with jangling support from Ensemble Galilei’s three guitars, four theorbos and (only one) organ. The haunting Lagrime mie is alone worth the price of the disc.

Sonata for three violins from Book 6 (1636) deservedly most popular. She opens Galatea’s disc and immediately you know you’re in for a treat: a fabulously fantastical disputation between three flighty fiddles, dispatched here with a voluble virtuosity and gesturing grandiloquence the Italians tried to kid us they alone possess. The dance movements have got rhythm, too, especially the galliards; and the continuo’s a sheer pluckfest.

Sylvius Leopold Weiss was born in the then Bohemian province of Silesia (now in Poland) in 1687 and grew up under the strong influence of Losy, which can be seen clearly in his early compositions. After his Italian sojourn (1710-14), Weiss became deeply involved with the Prague musical milieu and, according to numerous documents, he must have spent much time there even after he was invited by Augustus the Strong, on the 23rd of August 1718, to become an "Electoral Saxon and Royal Polish Chamber Musician" at his court in Dresden. In the years between 1717 and 1724 he worked closely with Johann Christian Anthoni von Adlersfeld at the Prague Music Academy to create one of most extensive collections of his music ever assembled, what we now know as the "London Manuscript."

Sylvius Leopold Weiss was born in the then Bohemian province of Silesia (now in Poland) in 1687 and grew up under the strong influence of Losy, which can be seen clearly in his early compositions. After his Italian sojourn (1710-14), Weiss became deeply involved with the Prague musical milieu and, according to numerous documents, he must have spent much time there even after he was invited by Augustus the Strong, on the 23rd of August 1718, to become an "Electoral Saxon and Royal Polish Chamber Musician" at his court in Dresden. In the years between 1717 and 1724 he worked closely with Johann Christian Anthoni von Adlersfeld at the Prague Music Academy to create one of most extensive collections of his music ever assembled, what we now know as the "London Manuscript."

Sylvius Leopold Weiss was born in the then Bohemian province of Silesia (now in Poland) in 1687 and grew up under the strong influence of Losy, which can be seen clearly in his early compositions. After his Italian sojourn (1710-14), Weiss became deeply involved with the Prague musical milieu and, according to numerous documents, he must have spent much time there even after he was invited by Augustus the Strong, on the 23rd of August 1718, to become an "Electoral Saxon and Royal Polish Chamber Musician" at his court in Dresden. In the years between 1717 and 1724 he worked closely with Johann Christian Anthoni von Adlersfeld at the Prague Music Academy to create one of most extensive collections of his music ever assembled, what we now know as the "London Manuscript."

Francesco da Milano - Intabolatura da Leuto (1530 ca) - Paul Beier, lute (1999) {Stradivarius STR11010 rel 2006}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 226 Mb | MP3 @320 -> 139 Mb
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© 1999, 2006 Stradivarius | STR 11010 | Echo Series
Classical / Renaissance / Chamber Music / Lute

This book (entablature) of lute pieces was published about 1530 by Francesco da Milano (1497-1543), known in his day along with Michelangelo as "Il Divino." The foremost lutenist of the Italian Renaissance, he served three popes and two cardinals. His works were published throughout Europe. "Clear phrasing captured by Beier with exquisite taste and without ostentation." -Goldberg