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Concert: Sunday 20 mai 2012 / 20:30
Program:  METAMORPHOSIS , the Viola da Gamba, travellling through time and space
  
Mr.de St.Colombe           Prélude, Chaconne 
            
J.S.Bach                            Suite BWV 1007 
                                         Prélude,Allemande,Courante,
                                         Sarabande, Menuet1-2, Gigue      

P.Pandolfo                       Keep Going                         
                         
M.Marais                           Prelude, Badinage             

C.F.Abel                            Arpeggiata, Adagio, Allegro            

P.Pandolfo                        Metamorphosis II  

NL
METAMORPHISIS:
In de voorbije halve eeuw kregen we door het baanbrekend navorsingwerk van onderzoekers, musicologen en musici een steeds diepere en bredere kennis in de complexe muzikale taal van de Oude Muziek. Polyfone gezangen, madrigalen, ricercars, Sefardische muziek, Engelse consortstukken of Franse suites klinken ons nu meer vertrouwd in de oren dan dat 50 jaar terug zou zijn.
De muzikant van vandaag beschikt over een berg aan informatie en voorbeelden die hem in staat stellen muziek van toen op adequate manier en beantwoordend aan de historische uitvoeringspraktijk te interpreteren en te spelen op historische of accuraat nagebouwde instrumenten. Een muziekstuk van toen kan door de muzikant historisch geplaatst worden en hij heeft nu zowel de theoretische als instrumentale kennis of “tools” in handen om die muziek zinvol te kunnen vatten en vertolken. 
We mogen echter ook niet vergeten dat de muzikanten uit die tijd niet alleen vertalers-vertolkers of uitvoerders waren maar ook zeer vaak muziek schreven – voor zichzelf of in opdracht- en bovendien ook grote meesters waren in het improviseren op hun instrument. De rigide scheiding tussen componisten en uitvoerders is in feite een relatief recente uitvinding, ondenkbaar voor de renaissance en barok muzikanten.
Volgens Paolo Pandolfo is nu het moment aangebroken om deze traditie verder te zetten, de draad uit het verleden terug op te nemen en een brug te bouwen tussen verleden, heden en toekomst. Gebaseerd op de ervaring en kennis uit het verleden moet de hedendaags muziek door het opnieuw aanspreken van de kunst van het improviseren een nieuw elan vinden die zal zorgen voor een metamorfose van deze muziek.
Gambavirtuoos Paolo Pandolfo zal dit illustreren in een uitermate boeiend avondvullend recital. Beginnend bij de “geschreven improvisaties” van Mr. de St. Colombe, de peetvader van de Franse gambamuziek, leidt hij ons mee naar het boeiende spel van Marin Marais die furore maakte aan het hof van Lodewijk XIV. Hij neemt ons ook op sleeptouw langs het muzikaal-architecturale werk van J.S. Bach in de cellosuite BWV 1007 - weliswaar geschreven voor de cello (of violoncello da spalla?), maar uitermate schatplichtig aan de talloaze gambasuites. Tenslotte betovert hij ons met de subtiele klanken van C.F. Abel die, al volop in de klassieke periode, de laatste grootmeester op de viola da gamba was. Tussendoor en als afsluiting serveert hij eigen composities en werk om zijn stelling in de praktijk kracht bij te zetten.
Paolo Pandolfo zal dit muzikale verhaal vertellen op de viola da gamba, het instrument bij uitstek dat met zijn ongebreidelde muzikale veelzijdigheid nu eens neigt naar melancholie en ingetogen mijmering om daarna plots verrassend en met veel energie uit de hoek te komen.
Een concert om nu al naar uit te kijken en nadien nooit meer te vergeten!

ENGLISH
METAMORPHISIS:
Nowadays deeper and deeper knowledge of the complex early music musical idiomatic, resulting of half century of scholar's and musicians researches, is the starting point of a profound change, in fact a real "Metamorphosis", of our way of making and listening to music
Our ears are by today used to appreciate ancient polyphonies, dance suites, frottole and saltarelli, madrigals and chamber sonatas, all rigorously performed on historical instruments and with the most accurate historical performing praxis.
Those who are producing and performing early music, could today presume to have achieved such a level of instrumental and theoretical knowledges sufficient to interpret any newly discovered score merging by an old library casually still unexplored.
But the musical interpreter was once also author, and the rigid separation between composers and performers is in fact an invention relatively recent, unthinkable for renaissance or baroque musicians.     
In XVII, XVIII and also XIX Centuries every good instrumentalist would have been able to compose music for his own use, or if commissioned.
We are convinced that such practice, together with the vital practice of improvisation, if reintroduced into everyday's life of today's musicians would be crucial for the future of cultivated western music. This is why we propose in this as well as in other programs to listen not only to early, but also to modern music, building bridges between past and present, making easier the comprehension of "today", thanks to the experience of "yesterday".. and the other way round too..! The Viol (da Gamba), thanks to its natural high versatility is capable of moving among musical vocabularies and styles extremely far apart from each other, and therefore is the perfect instrument for building such time bridges.
From the "written improvisations" of the master of all later french viol masters, St.Colombe, to the unbelievable formal architectures of J.S.Bach (composed for the cello, but profoundly inspired to the countless Suites for viola da gamba)… from the fragile notes of the last great violist of the XVIII Century, C.F.Abel (by then completely projected into the classical style) up to the improvised, somewhat jazzy notes of some of the modern pieces in the program, the viola da gamba moves perfectly at ease with its unique voice, often incline to melancholy, but also capable of unsuspected energy.

BIO
PAOLO PANDOLFO  began his research in the field of renaissance and baroque musical idioms around 1979 together with violinist Enrico Gatti and harpsicordist Rinaldo Alessandrini. Studied then with Jordi Savall at the Schola Cantorum Basiliensis  in Switzerland.
In 1982 he became a member of J.Savall's ensemble Hesperion XX and played with him until 1990 throughout the world, and making dozens of recordings (among them Bach's Kunst der Fuge, J.Dowlands Consort music, Neapolitan Renaissance Music , etc. etc.).
In 1990, after the huge success of his first recording as a soloist (C.P.E.Bach's Sonatas for Viola da Gamba), he was nominated as Professor of viola da gamba at his alma mater, the Schola Cantorum Basiliensis in Basel.
Since this appointment, he concentrates his teachimg activities in Basel, whilst his performing carrier takes him all over the world, playing with artists such as Emma Kirkby, Rolf Lislevand, Rinaldo Alessandrini, Mitzi Meyerson, Jose' Miguel Moreno and many others.
Since 1992 he directs Labyrinto, a group of four or five viola da gambas, which is dedicated to the huge "consort music" repertoire.
Paolo Pandolfo has recorded for radio and television stations world wide, and for record companies such as Astree, Emi, Philips, Erato, Harmonia Mundi, Tactus, Simphonia. Since 1997 all his recordings are by the spanish leading record company GLOSSA. He started his collaboration with them in 1997 recording the first world integrale of A.Forqueray's "Pieces de Viole", followed by "The Spirit of Gambo"(music by T.Hume with Labyrinto and Emma Kirkby). His first  unaccompained recital, A Solo, was pointed as one of the best releases of the year 1998 by Gramophone . He dedicated two releases to the M.Marais':  "Le Labyrinthe et autres histoires", dedicated to charachter music by the great french composer and “Le Grand Ballet”, focused on his gestures  and dance music. His  trancription  of J.S.Bach's  six Solo Suites, released in 2000, has been beyond its great success an important musical event.  All his recordings have received amazingly positive reviews as well as many  awards by the most important musical magazines (Gramophone, Le Monde de La Musique, Goldberg Scherzo, Diapason, etc.). The Abel Cd "The Drexel Manuscript" is presently running for the Best Year's Cd in the category "Instrumental" for the BBC Music Magazine.
He is invited to perform an to give masterclasses all over the world. He has been described as the Yo Yo Ma of the viol. Paolo Pandolfo builds bridges between the past and the present, bringing spontaneous and immediate life in the perfomance of baroque and renaissance music using medias such as improvisation, transcriptions and composition of modern pieces, being conviced that the patrimony of ancient music can be a powerful inspiration for the future of the western musical tradition.

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