Ensemble Kapsberger / Rolf Lislevand ALFABETO

The Alfabetos are guitar tablatures which were used until the end of the 18th century, they scored the chords as letters as jazz and rock music tablatures noxadays do. These simplified scores tell the essential, giving the players all the freedom to improv and use their virtuosity. For a long time, Rolf Lislevand played the electric guitar, some rock and a lot of jazz music and just a little bit of classical guitar to enter the conservatory. Pat Metheny leads him to jazz guitar, but the real hit comes from a lute concert by Hopkinson Smith. He starts learning how to play the lute and other early instruments. Ever since, he has shared his time between the baroque and the jazz or alternative stages along his improvisations. 'The baroque music offers much room, there is always air around it' (Rolf Lislevand): Alfabeto proves that baroque music was born in the street, that it was above all a music to dance (folias,...), basically intended to entertain people...His musicians in his ensemble are virtuoso improvisers, they dare everything with as much freedom as possible. Three baroque guitars phrase, nuance, launch solos and rhythms, they converse with Arianne Savall's aerial vocalizations, Pedro Estevna's imaginative drums or Bjorn Kyellemyr, one of Charlie Mingus's disciples, who leaves her his double bass for some colascione. (Naïve)

Rolf Lislevand LA MASCARADE

 In this inspiring album – his first solo disc for ECM – Norwegian early music performer Rolf Lislevand turns his attention to the music of two composers from the court of Louis XIV: Robert de Visée (c. 1655-1732) and the Italian-born Francesco Corbetta (c. 1615-1681), and plays their masterpieces with historical awareness and an inventiveness which belongs to the tradition. De Visée wrote about playing what the instruments themselves called for, advice Lislevand takes to heart here, adding improvised introductions to passacaglias from both composers.

On La Mascarade, Lislevand uses two contrasting instruments. He plays the theorbo, the dark-toned and earthy king of the lutes, and the Baroque guitar, with its sparkling, crystal-clear sonorities. The 17th guitar, smaller than its modern counterpart, had five pairs of strings, tuned in unisons and octaves. “Musicians of four centuries ago had already developed the instrument’s playing style to explore all the possibilities of surprising strummed rhythms and harmonies, often very modern-sounding to our ears. Moreover the instrument’s many different tunings prefigure the experimental tunings used by improvising musicians today… It seems that guitar players of the seventeenth century did exactly what guitar players have done ever since: compose music with the guitar on their knees by listening to the exciting new sounds that unexpectedly occurred when they put their fingers on new and unusual places on the fingerboard.”

Where the Baroque guitar had no bass register, the theorbo was effectively a bass lute: “Together these instruments create a chiaroscuro in music, an image in sound of the Baroque theory of that magic tension that exists between light and darkness.”

Francesco Corbetta’s virtuosity was first celebrated outside his native Italy. In his fascinating liner notes, Lislevand reports that Corbetta charmed Charles II in London, “and left a whole court strumming on small Baroque guitars.” Robert de Visée was Corbetta’s student In Versailles, and went on to become one of the Sun King’s composers, as well as his guitarist and theorbo player. “De Visée played his own music at court,” writes Lislevand, “occasionally in the king’s bedroom, while the monarch was taking supper. On request he would play his guitar walking two steps behind the king during the daily royal promenade of the gardens of Versailles – the first Walkman in musical history.”