In Libro primo(ECM) Norwegian lutenist Rolf Lislevand redefines the boundaries of historically informed performance practice. By approaching the scores of 17th-century masters like Kapsberger and Foscarini as dynamic blueprints, he interweaves Baroque traditions with a contemporary, almost avant-garde aesthetic.
The heart of this album lies in a deliberate break with classical "authenticity rules." Lislevand treats the scores as a framework for extended improvisations. Where purists might view this as anachronistic, the performance argues that this very freedom was at the core of the Baroque spirit. The rhythmic drive and addition of contemporary phrasing ensure that the compositions sound not like static museum pieces, but as living music.
The selection on this album highlights the transition into the early Baroque, a period in which composers like Johann Hieronymus Kapsberger and Giovanni Paolo Foscarini pushed the boundaries of harmony. Kapsberger was known for his extravagant style and unpredictable rhythms. Lislevand taps into this historical unpredictability; he sees in Kapsberger'stoccatasnot fixed texts, but an invitation to thestylus phantasticus. The influence of Diego Ortiz, whoseTrattado de Glosaswas fundamental to the art of variation, is also seized by Lislevand to break open the compositions of Bernardo Gianoncelli with virtuosic ornaments that accentuate the original structure. Particularly in his own composition, Passacaglia al modo mio, he extends the improvisation and enters into dialogue with the Baroque composers.
What stands out in the program as a whole are the dynamic contrasts. The sound intensity varies from whisper-quiet, melancholic passages to powerful, percussive attacks. The balance between this melancholic restraint and virtuosic passages is cleverly conceived; the lutenist never lapses into mere showmanship. The musician, venue, and engineer work together subliminally for this. The recording is suffused with a kind of symbiosis. The archlute and chitarrone are captured with extreme clarity, with the acoustics of the space playing an almost active role in the overall composition.
Lislevand succeeds in drawing the listener into a state of 'active contemplation.' The album is not merely a collection of separate pieces, but a coherent sonic investigation into the emotional power of the Baroque. Not imitation but artistic risks—risks that were inherent in the original improvisation culture resonating anew in a contemporary interpretation. By emphasizing 'sound' and emotional resonance rather than merely historical accuracy, Lislevand opens up this repertoire to a broader audience. In short, an album that challenges the definition of 'early music' and still sounds great!
