Libro d’intavolature di liuto
1
Tone 1 Book 1 No 1: Passamezzo antico[5’05]2
Tone 1 Book 1 No 2: Romanesca antica[2’26]3
Tone 1 Book 1 No 3: Saltarello[2’50]4
Tone 1 Book 2 No 1: Passamezzo moderno[2’17]5
Tone 1 Book 2 No 2: Romanesca moderna[2’26]6
Tone 2 Book 1 No 4: Passamezzo antico[4’48]7
Tone 2 Book 1 No 5: Romanesca antica[2’43]8
Tone 2 Book 1 No 6: Saltarello[2’24]9
Tone 2 Book 2 No 3: Passamezzo moderno[3’55]10
Tone 2 Book 2 No 4: Romanesca moderna[2’51]11
Tone 3 Book 1 No 7: Passamezzo antico[4’11]12
Tone 3 Book 1 No 8: Romanesca antica[2’11]13
Tone 3 Book 1 No 9: Saltarello[2’42]14
Tone 3 Book 2 No 5: Passamezzo moderno[3’48]15
Tone 3 Book 2 No 6: Romanesca moderna[2’45]16
Tone 4 Book 1 No 10: Passamezzo antico[4’55]17
Tone 4 Book 1 No 11: Romanesca antica[2’31]18
Tone 4 Book 1 No 12: Saltarello[1’37]19
Tone 4 Book 2 No 7: Passamezzo moderno[4’04]20
Tone 4 Book 2 No 8: Romanesca moderna[2’34]
Vincenzo Galilei’s Saltarello primo
The modern sequence of keys had yet to be invented when Vincenzo Galilei set out to traverse them all—well over a century before Bach’s seminal ‘Well-tempered Clavier’. The resulting demands on the sixteenth-century lutenist are ferocious, and Žak Ozmo here fully rises to the challenge in their first recording.
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