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André Lislevand, Emil Duncumb, Jadran Duncumb – Galanterie. The Autumn of the Viola da Gamba (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:41 minutes | 1,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Arcana
Awarded a Diapason Découverte, André Lislevand’s debut album Forqueray Unchained (Arcana A486, 2021) celebrated one of moments of greatest splendor for the viola da gamba: that of the ancien régime in France. In this repertoire, the young musician proved to be “absolutely on top of his game and not afraid to explore the extremes of his instrument’s aesthetic world, though without ever losing touch with le bon goût ” (Early Music Review). The same youthful freshness and energy can be found in his second album, though here he explores the German repertoire of the central decades of the 18th century, a period that witnessed the gradual decline of the instrument, but was still capable of expressing unexpected treasures and developing an idiom that often seems to anticipate the years to come.
In the program are sonatas for gamba and basso continuo (C.P.E. Bach’s WQ 136 and C.F. Abel’s B93 in A minor), Telemann’s Fantasia XI for solo viol, two pieces by Abel from the Drexel Manuscript, and finally, the lesser-known Suite BWV 1025 by J.S. Bach, presented here in a version for viola da gamba and concertante lute.
Also featured and playing a vital role in this project are the Duncumb brothers, two extraordinary chamber musicians: Emil on the fortepiano and Jadran, who already played on the debut album, on the lute.
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Jadran Duncumb – Weiss & Hasse: Lute Sonatas (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 57:17 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Audax Records
For his first solo CD Jadran Duncumb combines Weiss’ astonishing and rarely-played late D-minor Sonata with two inventive and unheard Sonatas by Hasse, adapted by an unnamed lutenist and survivng now in a manuscript in Leipzig. The disc culminates in Weiss’ famous D-major Passacaglia; a piece that perfectly reflects the splendour of the Dresden court and its orchestra at the time.
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Jadran Duncumb – Bach: Works for lute (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 52:38 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Audax Records
Johann Sebastian Bach excelled as a player on several instruments, but the lute was not one of them. Even today, this renders his works for solo lute unique in the instruments vast repertoire where playing the lute has otherwise been a prerequistite to composing for it. As such, they pose unique challenges and dilemmas for players who want to present this music in the best light. Inspired by his teacher, Rolf Lislevand, Jadran Duncumb eschews the well-thumbed pages of Bachs own manuscripts and sets out on a different path. Instead, following manuscripts by lutenists contemporary with Bach that take advantage of the instruments inherent strengths, he arrives at startling new conclusions. Jadran Duncumb is of English and Croatian origins, although from the age of nine he grew up near Oslo in Norway. He made his mind up to study music when he won the String Category and thus reached the final of the BBC Young Musician of the Year. Jadran began to explore baroque music during his studies at the Royal College of Music (where he studied guitar under Gary Ryan and lute under Jakob Lindberg) in London and has since been very active as a continuo player performing with various European ensembles as well as being in demand as a soloist specialising mainly in repertoire for the baroque lute and baroque guitar.
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André Lislevand, Jadran Duncumb, Paola Erdas – Forqueray Unchained (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:49 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Arcana
The debut album of the young gambist André Lislevand is devoted to the great oeuvre for viol of Antoine Forqueray. Ambiguity: a word that can easily have a negative or derogatory meaning but which also accurately describes the various aspects of Forqueray’s music and the duality of style that distinguished music in the France of the Sun King: indubitably French, but also strongly influenced by the Italian idiom.
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