Regina bastarda Paolo Pandolfo

Cover Regina bastarda

Album info



Label: Glossa

Genre: Classical

Subgenre: Chamber Music

Artist: Paolo Pandolfo

Composer: Adrian Willaert, Orlando de Lassus, Vincenzo Bonizzi, Pierre Sandrin, Riccardo Rognoni, Thomas Crecquillon (1490-1557), Aurelio Virgiliano, Girolamo dalla Casa, Diego Ortiz, Cipriano de Rore, Vincenzo Bonizzi (1630 - ??), Francesco Rognoni (1570–1626), Giovanni Pierluigi da Palestrina (1525-1594), Orazio Bassani

Album including Album cover Booklet (PDF)


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FLAC 176.4 $ 14.00
  • Orazio Bassani (1570 - 1615):
  • 1Toccata per b quadro02:07:00
  • Giovanni Pierluigi da Palestrina (1525 - 1594): Vestiva i colli:
  • 2Vestiva i colli: I. Vestiva i colli02:43:00
  • Francesco Rognoni (1570 - 1626):
  • 3Vestiva i colli (After Palestrina)04:23:00
  • Giovanni Pierluigi da Palestrina: Vestiva i colli:
  • 4Vestiva i colli: II. Così le chiome02:29:00
  • Orazio Bassani:
  • 5Così le chiome (After Palestrina)04:37:00
  • Cipriano de Rore (1515 - 1565):
  • 6Anchor che col partire02:18:00
  • Riccardo Rognoni (1550 - 1620):
  • 7Anchor che col partire (Version for viola da gamba & continuo) [After Rore]04:13:00
  • Diego Ortiz (1510 - 1570):
  • 8Recercada tercera01:50:00
  • Girolamo dalla Casa (1543 - 1601):
  • 9Anchor che col partire (After Rore)03:05:00
  • Aurelio Virgiliano:
  • 10Ricercar No. 204:54:00
  • Thomas Crecquillon (1505 - 1557):
  • 11Ung gay bergier01:42:00
  • Riccardo Rognoni:
  • 12Ung gay bergier (After Crecquillon)03:53:00
  • Pierre Sandrin (1490 - 1561):
  • 13Doulce memoire en plaisir consommée02:43:00
  • Vincenzo Bonizzi:
  • 14Doulce memoire en plaisir consommée (After Sandrin)05:48:00
  • Orlando de Lassus (1532 - 1594):
  • 15Susanne un jour02:18:00
  • Orazio Bassani:
  • 16Susanne un jour (After Bassani)06:32:00
  • Adrian Willaert (1490 - 1562):
  • 17Jouissance vous donnerai (After Sermisy)02:28:00
  • Vincenzo Bonizzi:
  • 18Jouissance vous donnerai (After Sermisy)05:38:00
  • Total Runtime15:41:00

Info for Regina bastarda

Popular madrigals and chansons of the 16th century served as models for richly embellished “alla bastarda” versions on the viola da gamba. In this recording, the vocal originals are presented together with the extremely virtuoso instrumental versions which represent the first and hardly surpassed apex of solo literature for viola da gamba.

For 25 years, Paolo Pandolfo has been one of the leading viola da gambists of his generation, researching and promoting the repertoire of his instruments in all directions. The thorough knowledge of all aspects of the viola da gamba repertoire becomes clear in his extensive discography. Not only has he recorded the most important works of the viol literature, but also very personal musical statements in which he combined the youthful experiences as a double bass player and guitarist with compositions and improvisations that are just as influenced by jazz as they are by the historical repertoire. With the bastarda diminutions, he now proffers an early milestone of the solo viol literature in which the exuberant virtuosity serves to present enchantingly beautiful music.

On this very special project, with instruments built ad hoc, he is joined by some of the finest continuo players of the early music scene (Boysen, Granata, Chemin, Pedrini) and the exquisite vocal ensemble La Pedrina, together producing what definitely will be considered as a key recording of repertoire for the viola da gamba.

Paolo Pandolfo, viola bastarda
Thomas Boysen, theorbo
Chiara Granata, arpa doppia
Amélie Chemin, lira da gamba
Francesco Saverio Pedrini, harpsichord, organ
La Pedrina,

Paolo Pandolfo
Widely admired as a virtuoso exponent of the viola da gamba through his concert performances and recordings of key composers from Germany, France, Spain, England and his native Italy, Paolo Pandolfo has in recent years been developing the instincts and skills for improvising and composing. He began his research in the field of renaissance and baroque musical idioms around 1979 along with violinist Enrico Gatti and harpsichordist Rinaldo Alessandrini. Studies with Jordi Savall at the Schola Cantorum Basiliensis in Switzerland were followed by membership of Savall’s Hespèrion XX between 1982 and 1990. A highly successful recording of the CPE Bach Sonatas for viola da gamba (on Tactus) in 1990 saw Pandolfo nominated as Professor of viola da gamba at his alma mater, the Schola Cantorum Basiliensis in Basel, where he has been concentrating his teaching activities ever since.

Since 1997 all of Paolo Pandolfo’s recordings have appeared on Glossa. The odyssey commenced with the first complete recording of Antoine Forqueray’s Pièces de Viole, followed by discs devoted to the music of Tobias Hume, Marin Marais (Le Labyrinthe et autres histoires was devoted to character music whilst Grand Ballet focused on Marais’ gestures and dance music) and Sainte-Colombe. Pandolfo has regularly ventured beyond the realms of Renaissance and Baroque notated music for his instrument; he achieved a notable success with his own transcription of the six Bach Solo Suites and recorded an unaccompanied recital, A Solo. Travel Notes and Improvisando have further demonstrated Pandolfo’s command of the possibilities of the viola da gamba as a composer himself.

His performing activities have taken him all over the world, playing with artists such as Emma Kirkby, Rolf Lislevand, Rinaldo Alessandrini, Mitzi Meyerson, José Miguel Moreno and many others. He has been described as the Yo Yo Ma of the viol. Since 1992 he has been directing Labyrinto, a group of four or five viola da gambas, which is dedicated to the huge consort music repertoire.

Paolo Pandolfo builds bridges between the past and the present, bringing spontaneous and immediate life in the performance of baroque and renaissance music using medias such as improvisation, transcriptions and composition of modern pieces, being convinced that the patrimony of ancient music can be a powerful inspiration for the future of the western musical tradition.

Booklet for Regina bastarda

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