Georg Kallweit & Björn Colell - Passaggio, eine barocke Alpenüberquerung (2017) [Hi-Res]

Tracklist
---------
01. Sonatae unarum didium, seu a violino solo: Sonata No. 4
02. Intavolatura di liuto et di chitarrone libro primo: Tenore detto il mercatello, Corrente detto nasazzo fatta sopra il mercatello, Toccata No. 10 for Chitarrone Solo
03. Sonate, Symphonie, Canzoni, Passe'mezzi, Baletti, Corenti, Gagliarde e Ritornelli, Op. 8: Sonata quarta, per il violino, per sonar con due corde, Op. 8
04. Wiener Minoritenkonvent, Manuscript XIV 726: Musicalisch Uhrwerck No. 68 in A Minor, for Violin and Continuo
05. Libro primo et secondo di chitarra spagnola: Prelude, Allemande, Courante, Passacaglia for Baroque Guitar Solo
06. Artificiosus concentus pro camera, distributos in sex partes, seu partias à violino solo con basso bellè imitate: Preludio, Harpeggio, Aria (Allegro), Saraband (Adagio), Gavotte (Allegro)
07. Violin Sonatas, Op. 4: IV. La Biancuccia
08. Violin Sonata in D Major

For several years now, the guitarist and lutenist Björn Colell and the Baroque violinist Georg Kallweit, Konzertmeister of the Akademie für Alte Musik Berlin, have formed a noted duo called Ombra e Luce: ‘With only two musicians and two instruments, we aspire to a perfect rapport and a permanent dialogue. We have access to a rich repertory of original pieces from the sixteenth to eighteenth centuries for violin and lute/theorbo: this was a widespread combination, essentially before 1700. We work a great deal on tone colours and nuances, spontaneity and improvisatory playing – a flexible and sensual interpretation of the works we perform, giving full value to chiaroscuro: ombra e luce! We are convinced that, played in this way, our “early music” can speak directly to the hearts even of listeners who are hearing it for the first time. This new recording, “Passagio”, is the result of our recent musical journeys. Setting out from Italy to go farther north, we have virtually and musically crossed the Alps with our instruments. The works on this recording shed a different light on the music of the courts of Modena, Bologna and Venice.’