Author Topic: Henri Agnel - Estampies italiennes du XIVème siècle | Istanpitta  (Read 429 times)

Offline O

  • Posts: 1982

Los discos de istanpittas italianas de Henri Agnel los tuve como referencia durante mucho tiempo.
Escuchándolos ahora seguidos me siento un poco apabullado.
Casi todos los ritmos son muy rápidos
y seguramente tendría que haber vuelto a escuchar los discos bailando,
en vez de estar sentado en una banqueta delante del PC, escribiendo.

Hay repetición de material en los dos discos;
en el primero una nota simpática es haber unido Li solaust lui con el lamento de Tristán.

Decían en del primer disco:
Information from owned CD. Although medieval in content, the interpretation seems to be largely based on improvisation/arrangement (note: Djamchid Chemirani is a traditional Iranian percussionist, and that tradition is based largely on improvisation), but what improvisation! These two artists are real masters of their instruments and this CD will probably please to most individuals interested in the islamic/european cross-influence.

Y del segundo en cdroots:
The history of the estampie is clouded by time. Music and dance historians have struggled over the years to piece together just how the dance and its accompanying music were performed. Fortunately for musicians, many written scores of estampies have been preserved and are available for interpretation. Henri Agnel and his quintet have brought to life a collection of Italian estampies from a late fourteenth-century manuscript housed at the British Museum. Agnel's arrangements play up the probable Middle Eastern connection to the music. Using Indian, Turkish, and Persian instruments as well as period European instruments, he creates a sound that is ancient at its essence yet has a modern appeal.

All of the instrumentalists here are adept at not just reproducing the sound on the page, but as improvisers. The pieces have a verse-refrain form and Agnel allows his musicians free rein on the verses. They jump to the challenge, but never exceed the bounds of taste. It's a team project that produces often thrilling results. Each track begins the same way, with a slow solo or ensemble improvisation, somewhat in the manner of the Indian alap. Here each musician has a chance to show what he can do. Henri Tournier's work on bansura (Indian bamboo flute) is warm with a liquid flow. Michael Nick plays quinton, a five-stringed violin with seven sympathetic strings. He makes full use of the instrument's rich tone quality. Percussionists Idriss Agnel on Brazilian udu and Indian gatam (clay pots) and Djamchid Chemirani on Iranian zarb (goblet drum) provide not just a driving rhythmic underpinning, but play some stunning solos as well. Agnel plays cittern, cetera, and oud. He has the humility not to hog the spotlight, though he has the skills to do so. His playing sparkles and dances through the shifting textures of his nimble arrangements. Agnel's fresh take on this ancient music will appeal to medievalists and casual listeners alike. - Peggy Latkovich

El zarb no es uno de los instrumentos de percusión que más me entusiasman.

Estas danzas saben a gloria intercaladas entre obras vocales.
Recuerdo, por ejemplo, el Principio di Virtu que toca Crawford Young en Corps Femenin
(y que voy a oír inmediatamente...).