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Benkö Dániel: Hét hangszeren - On Seven Instruments

 A l b u m   D e t a i l s

Artist: Benkö Dániel
Title: Hét hangszeren - On Seven Instruments
Released: 1992
Label: Hungaroton Classics
Time: 55:16
Producer(s):
Appears with:
Category: Classic
Rating: ******.... (6/10)
Media type: CD
Purchase date:  1999.05.14
Price in €: 7,63
Web address: www.hungaroton.hu

 S o n g s ,   T r a c k s


[1] Vincente Martiner Gomer: Romance - 2' 49''

Bálint Bakfark
[2] a) Fantasia 1 á 4 VBOO 1 - 3' 03''
[3] b) Non dite mai - Gagliarda VBOO 42 - 2' 19''
[4] c) Or vien qa vien (Chanson ä 4) VBOO 10 - 3' 38'' (Clément Jannequin után / after Clément Jannequin)

RENESZANSZ TANCOK I. SZVIT / RENAISSANCE DANCES - SUITE NO.1
[5] a) Pietrobono: La Maydalena (Bassa Danca) - 2' 17''
[6] b) Matthäus Waissel: Táncok / Dances - 4' 26''
[7] c) Ismeretlen szerzö I Anonymous: Danza - 1'37''

RENESZANSZ TANCOK II. SZVIT / RENAISSANCE DANCES - SUITE NO.2 - John Dowland
[8] a) Mellancholy Galliard P.25 - 2' 18''
[9] b) My Lady Hunsdons Alimande P.54 - 1'27''
[10] c) Luis de Milán: Fantasia (Pavana) del 4 (1536) - 2' 10''
[11] d) Luys de Narváez: Diferencias sobre ,Guärdame las vacas' (1538) - 1'41''

Johann Sebastian Bach
[12] Sarabande - 3' 06'' (a c-moll gordonka szvitböl BWV 1011 / from the Solo Cello Suite No.5 in C minor)

'ARIE E CANZONI IN MUSICA' (1574) Barokk szvit Bottegan keziratäböl / Baroque Suite from the Bottegan Lutebook
[13] a) Ismeretlen szerzö / Anonymous (Cosimo Bottegan?) - 1'26'' Mi parto, ahi sorte na!
[14] b) Cosimo Bottegan: Dapol ch'un orsa - 1' 06''
[15] c) Giulio Caccini: Fillide mia - 1'20''
[16] d) Cosimo Bottegan: Monicella mi tarei - 0' 53''

Antonio Vivaldi
[17] Andante - 4' 45'' a G-dür mandolin kettösversenyböl RV 532 / from the Double Mandolin Concerto in G major
[18] Fernando Sor: Andantino Op.60 - 4' 36''
[19] Mafleo Carcassi: Studio (A-dúr / in A major) 2' 11''

Dániel Benkö
[20] Goa, Goa 4' 01''
[21] Riói emlék / Souvenir from Rio - Bossa nova 3' 45''

 A r t i s t s ,   P e r s o n n e l


DANIEL BENKÖ - spanyol gitär / Spaniah guitar (1, 12,17-21), reneszänsz lant / renaissance lute (2-7), orpharion (8, 9, 17), vihuela (10, 11), reneszänsz gitär / renaissance guitar (13, 14), chitarrone (15), bandura / bandoura (16)

Bakfark Consort
(Müvészeti vezetö / Artistic Director: Dániel Benkö) (3)
LászIó Czidra, György Pászti, LászIó Lörincz - furulyák / recorders
Zsolt Harsányl - dulcian
LászIó Ujházy - görbekürt / orumhorn
Tamás Bubnó - ütöhangszerek / percussion

László Czidra - furulya / recorder (5, 7)
Róbert Rátonyi Jnr. - szintetizátor / synthesizer (21)
Kornél Horváth - ütöhangszerek / percussion (21)

Däniel Benkö - Zenei rendezö / Recording Producer
LäszIö Sinka - Hangmérnök / Balance Engineer
Zseni Jung - Photo
Miklös Juhäsz - Grafika I Design

 C o m m e n t s ,   N o t e s


Benkö Däniel feldolgozäsai / Arrangements by Dániel Benkö (1-19)

© 1997 HUNGAROTON CLASSIC LTD.
Made in Hungary (p) 1992 HUNGAROTON

A felvétel a CÉH Egyesület Stüdiójában, Budapesten készült 1991-ben.
Recorded at the CÉH Society of Early Arts and Research Studio, Budapest, 1991.



"Once again 1 have ventured to make a record. Why do 1 subject the innocent, unsuspeoting public which expects something new for its money to new trials? And yet what 1 play 15 something old. OId because it is Renaissance, Baroque or Romantic music, and old because leamt the pieces a long time ago. Some 1 have been playing for ten years, and some 1 began practising two weeks ago and forgot again a week ago. However, the record does indude two new odd bods, which 1 composed myseif. One 15 a bossa fiGYs (which 1 hope you will torgive me for), ,,Souvenir trom Rio" (No.21). If Bälint Bak-tark were alive and working today, he would be composing bossa novas and cha cha chas, not galliards. And let me add that 1 have never been to Rio. The other is ,,Goa Goa" (No.20), where 1 have been, and the song is so sad because 1 am not there any longer 1 just mentioned Bakfark, whom 1 adore as my very own teacher, from a distance of 400 years. We often grappled with each other over the past tifteen years. 1 have kept plundering hirn maliciously, and he has yielded to pressure and permitted lt. have thought a great deal about the best way to itlustrate Baktark's achievement. 1 ended up taking a pinch ot this and a pinch of that. Ot course there was no leaving out ,,Fantasia" (No.2), tor Bakfark perfected the artform almost atthestandardofthetugue. Buthe rewrotewith the same mastery the famous hits ot his day: chansons, madrigais and motets. One of my fa-vourites is the madrigal intavolatura ,,Or vien ca vien" (No.4), which he based on Jannequin. The other Bakfark work is a rarity, the only authentic dance to come down to us: ,,Gagliarda - Non dite mal" (No.3). The maestro may forgive me for the performance, in which an account of the original is followed by a somewhat riotous 2Oth century version, born of the high spirits ot the Bakfark Consort. Butperhapsitistimetostartagainandtakethe pieces in order The order 1 have chosen is chronological, apart from the opening work, a ,Romance" by Vincente Martinez Gomez (No.1), which is a hit played by every guitarist and welcomed by everyone fond of guitar music. Alongside Baktark's works, 1 have managed to retaln some other Renaissance works in my repertoire. Anyone who takes up period instru-ments is presented with a wealth of material which has not yet been fully explored, since the pieces were written down in tablature notation. have always enjoyed playing Hungarian works, orworkswith a Hungarian reterence. Pietrobono is supposed to have been a musldan at the court of King Matthias, one of whose noted works is the dance suite ,,La Maydalena (No.5). Matthäus Waissel worked in East Prussia in the l6th century, and a copy ot one ot his collections (Tabulafura, 1573> strayed info the Bärtta (Bart-feld) Collection. 1 have compiled a medley of his Dances (No.6). (This Tabulafura has another Hungarian reference in that lt is the onty surviv-Ing source of a motet arrangement by Bakfark.) Then our attention turned to two distant parts of this continent. The English composers ot the late l6th and l7th century Elizabethan age have survived. John Dowiand galned fame and a knighthood in his own lifetime, and his madri-gals are still in the repertoire ot many choirs; his instrumental pieces are de rigeur for lutenists. I am playing them on the orpharion, with its harp-sichord sound and metal arch (Nos.8, 9). Around the same time, or even some years ear-lier, vihuelists were highly esteemed among court musicians on the Iberian peninsular The vihuela is an old instrument strung and played like the lute, but with a body resembling the gui-tar, familiar only on the peninsula, and subse-quently replaced by the guitar Of the works of the most famous vihuelists-Pisador, Valderra-bano, Mudarra, MilAn and Narvflez-I have cho-sen a piece each by the last two (Nos.10, 11). After the Renaissance comes the Baroque, and who else should lead if not J S. Bach? Although Bach did write a tew pieces for the Baroque lute, I have here tried to transcribe one of his "Sara-bands", originally written for the cello (No.12). Then follows a chronological detour back to the early 17th century and the beginning of the Ba-roque, to Italian composers (Pen, Caccini, Mon-teverdi) who were beginning to turn out operas at that time and showing a penchant for the aria with instrumental accompaniment. This gave rise to the publication of many volumes, to the, great profit of publishers and the joy of ama-teurs. I have taken a bouquet of them from a manuscript, and even though I make no attempt to sing them, I have taken some rare instruments out of my collection (the chitarrone, bandoura and Baroque guitar), and by alternating and admixing their sound, I have managed to play both the melody and the accompaniment of pie-ces from Bottegari's Lutebook (Nos.13, 14, 15, 16). Vivaldi originally scored the concerto that features here for two mandolins and a string or-chestra, but itcan be played equallywell on two Spanish quitars if a mandolin does not happen to be available. The studio could not provide me with one, so that is what I did (No.17). Next we arrive at the Classics, orrathertheclas-sics for the guitar: the one justifiably held in greatest esteem is by Ferdinand Sor, the Mozart of the guitar His "Andantino" (No.18) marked a new departure in my musical career for it kept me from straying into light music at the times of the Shadows and the Beatles. Matteo Carcassi, another favourite composer with all guitarists, marks a transition to the Ro-mantics. His "Etude in A major" (No.19) is an-other of my favourits. Looking over the programme and listening to the whole collection, I have do adult that it has turn-ed into a collection of miscellanea. But never mind, that is what I intended it to be in the first place. Following in the wake of so many records, in which I either selected from the works of one composer (Vivaldi, Bakfark), concentrated on a particular musical period (Classics on the Gui-tar, Renaissance Pop), choose from a single cul-tural complex (Spanish Guitar, Guitar Romance, Hungarian Recruiting Music), or played my own compositions and arrangements (1000 Years on the Guitar), it is time for something more way-ward. In this way I may be able to draw a more comprehensive picture of my own wayward dis-position. It is with these thoughts in mind that I present this CD and cassette to listeners, and I must ad-mit that by the time it reaches the shops, I will be preparing further surprises."

Dániel Benkö 1992
 

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