Fabled for its ability to seduce gods and calm mad kings, the lute has long been bestowed with magical powers. On the rarely-heard vihuela da mano, and the elegant, long-necked theorbo, Norwegian Thomas Boysen gives us a glimpse into the lute’s world of sweet melancholy, playing renaissance miniatures by Judenkunig, le Roy, de Narvaez, and baroque counterpoint by de Visée, Piccinini, Pellegrini and de Murcia.
Adrian le Roy (ca. 1520-1598): Petit fantasie dessus l’accord Hans Judenkunig (1450-1526): Christ ist erstanden Hans Newsidler (1508-1563): Elslein liebstes Elslein mein Adrian le Roy/Constanzo Festa (1495-1545): O passi sparsi Adrian le Roy: Passemeze
Luis de Narváez (1490-1547): Fantasia del quinto tono Quatro diderencias de guarda me las vacas Con que la lavare Cancion del Emperador, Mille Regrets Otras tres diferencias soble las vacas
Domenico Pellegrini (d. 1682): Ricercata del primo Tuono Santiago de Murcia (1673-1739): Fandango & Canarios Robert de Visée (1655-1725): Suite in A minor Alessandro Piccinini ()1566-1638: Toccata in G minor & Chaconna in G Major Robert de Visée: Prelude & Chaconne in G Major
Event additional information
Generously supported by Leading Patron Ulrike Klein AO. Commissioned work supported by the Chamber Landscapes Commissioning Circle.
Thomas Boysen, vihuela da mano & theorbo
Thomas C. Boysen was born in Oslo, Norway. After finishing his studies, Boysen established himself as an accomplished soloist and continuo player, collaborating with some of the most important musicians in the early music scene. Next to his work as a performing artist he is teaching lute and basso continuo at the state academy of music in Würzburg, Germany.