René Clemencic as a soloist on various
Flutes

FLAUTO MAGICO -- Music from the Middle Ages to the Avant-garde
for gemshorns, double flutes, garkleinflötlein, one-hand flute, medieval flutes, Renaissance and Baroque flutes, played and commentated by René Clemencic.
Programmee: Provençal and Spanish Music of the Middle Ages, Austrian Music of the 13th century, Italian Music of the Mannerist Period, Dances of the Late Renaissance, the Flöten Lusthof, Music of the Avant-garde.

Excerpts from the reviews:
San Francisco Chronicle: ... banquet of glorious sound ... dazzling display ... undoubted authenticity of style ...
San Francisco Examiner: ... rich entertainment value -- incomparable breath control and a gift of erudite gab ... extreme dynamic contrasts ...

René Clemencic as a soloist on the
Clavichord,
the most quiet, expressive and delicate of all keyboard instruments



Unknown Masterpieces of the Renaissance:
Programme I "DOULCE MEMOIRE" -- Preludes, German Songs, French Chansons, Italian Madrigals and Motets from the Tablature of Johannes Waissel (1592)
Programme II "WENN ICH GEDENCK DER STUND" -- Fantasias, Chorales, Souterliedekens, French Chansons, Madrigals, Motets, Villanellas, Neapolitans, Passamezzos, German and Polish Dances, Galliards from the Tablature of Johannes Waissel (1592)
Programme III "ACH LIEB MIT LEID" -- Preludes, Lieder, Dances and Motets from the Tablatures of Hans Judenkünig (1523) and Hans Neusiedler (1536)
Programme IV "VENI IN HORTUM MEUM" -- Fantasias, Mutetas, Cantiones Germanicas, Italicas ac Gallicas, by Jean Richafort, Josquin des Prez, Orlando di Lasso, Jacques Arcadelt, Philippe Verdelot etc.
Programme V LUYS VENEGAS DE HENESTROSA, LIBRO DE CIFRA NUEVA (1557) -- Music of the Spanish Renaissance at the Court of Charles V
Programme VI ANTONIO DE CABEZON (1510-1565): GLOSAS, TIENTOS, HIMNOS, DIFERENCIAS
Programme VII JOSQUIN DES PRES, SPLENDOR MUSICAE (c. 1440-1521) -- Intabulations of Motets in Veneration of the Virgin Mary by ANTONIO DE CABEZON (1510-1565)
Programme VIII FRANCESCO DA MILANO (1497-1543), RICERCARI E FANTASIE
Programme IX FROM THE TABLATURES OF THE BASEL HUMANIST BONIFACIUS AMERBACH (1495-1562)
Programm X "DON LUYS MILAN" (Valencia 1535) -- FANTASIAS, TIENTOS, PAVANAS
Programm XI "VICENZO CAPIROLA: COMPOSITIONE" (Brescia, um 1517) -- RICERCARI, PADUANEN, CHANSONS, MOTETTEN, FROTTOLE, Villancicos
Programm XII "MOTETTEN, FROTTOLEN UND FRANZÖSISCHE CHANSONS AUS DER ST. GALLENER TABULATUR DES FRIDOLIN SICHER" (1490 - 1546)
Josquin Desprez, Jean Mouton, Heinrich Isaac, Jacob Obrecht, Matthaeus Pipelare, Alexander Agricola, Bartolomeo Tromboncino)
Programm XIII "GENUESER FANTASIEN DER FRÜHRENAISSANCE" -- GIOVANNI BATTISTA DELLA GOSTENA (ca. 1540 - 1598)
Programm XIV "LUYS DE NARVÁEZ / DELPHIN DE MUSICA" (Valladolid, 1538) -- FANTASIAS, CANCIONES, DIFERENCIAS
Programm XV "GUILLAUME MORLAYE"
Programm XVI "TABULATUR DES LEONHARD KLEBER" (1522) -- PRAEAMBULA, CARMINA, MOTETTEN (Paul Hofhaimer, Hans Buchner, Magister Othmar Nachtgal)
Programm XVII "MUSICA DI CASTELL’ARQUATO" -- ITALIENISCHE MADRIGALE, MOTETTEN, PAVANEN & SALTARELLI des späten 16. Jahrhunderts
Programm XVIII "DIE TABULATUR DES JOHANNES VON LUBLIN" (1540) -- PRAEAMBULA, MOTETTEN, MADRIGALE, CHANSONS. DEUTSCHE, ITALIENISCHE & POLNISCHE TÄNZE
Programm XIX "MUSIK DER SPANISCHEN RENAISSANCE ENRIQUEZ DE VALDERRABANO / SILVA DE SIRENAS" (Valladolid 1547)
Programm XX "MUSICA DI CASTELL'ARQUATO II" -- RICERCARI, MADRIGALE, MOTETTEN UND TÄNZE DER FLÄMISCHEN UND ITALIENISCHEN SPÄTRENAISSANCE

The Clavichord is probably the oldest keyboard instrument with strings. It most likely existed as early as the 14thcentury. In 1404 the clavichord was mentioned for the first time in "Minne Regel" written by Eberhard Cersne. The earliest pictorial evidence is found in a fresco dating from around 1435 at San Giovanni in Carbonara (Naples). In principle the clavichord is a monochord with multiple strings and keys that function as lever arms. At the rear end of the levers are metal blades called tangents that strike the strings from below, causing them to vibrate as long as the key remains depressed. Thus the tangent has a double function, not only setting the strings in vibration but also determining their sounding length. The tone produced is naturally very delicate and soft but incredibly flexible. The constant contact with the strings makes it possible to play with extremely subtle nuance, even including vibrato (bebung), which is impossible on any other keyboard instrument. Until the 19th century the clavichord was a favourite instrument of composers (including J.S. Bach) and preferred for playing music in intimate surroundings. It takes listeners only a relatively short time to become accustomed to the low volume of sound -- there is a meditative component involved here as well -- and one is soon enchanted by the spiritualised richness of sound. The noise made by the action is quickly tolerated by the listener and then ignored.

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