Jacques Gallot (1625 Paris - 1695) was one of the greatest composers for lute of his time, a student of Vieux Gaultier and a continuator of the French lute school, which was very popular at the court of Louis XIV as well as among the French and European aristocracies.
His works, which were spread in Europe via the lute manuscripts of his time and still half a century later, show his importance in the literature on the instrument. These compositions are treasures and intricate, exquisite jewels.
Jacques Gallot was a great educator, who was sought-after as a teacher by the great personalities of the court, which included people from around the world and foreign nobles. He had the habit of giving a live performance at his home on Saturday afternoons for the public who came and listened to his works. Thus, according to the words, writings and articles of his time, his fame was well-merited.
His music reflects the art of refinement and the preciousness of poets, philosophers, scholars, theatre performers, artists, dancers, who met up in the "Salon" to pass their art to people who appreciated and shared this passion or who searched to refine themselves through the "Belle Expression", "Belle Danse", "Belle Parole", "Beau Texte", where the straightforward word or direct, simple ideas seemed vulgar: the blatantly obvious needed to be concealed; things were implied in a thousand ways, but they weren't to be spoken out. Lutenists, such as Gallot, Gautier, Mouton, Edmond, Dubut, Dufaux, Launay, Merville, Pinel Dupre, Mesangeau to name just a few of the best-known, all had a common language and way of writing, which were highly cultivated, precious, carefully crafted and sought-after for their rhetorical effects.
In reality, each lute piece and each dance constituted a condensed theatre, in which the drama or the story of the described or flattered protagonist was presented. Most of Gallot's pieces have a mythological title or theme, are weaved around a popular, 'precious' figure from the courts, or around a politician or strange enigma, which was a mystery for all but the insiders who recognized themselves.
Written by Sylvius Léopold Weiss, the suite no. 35 in D minor from the Dresden Manuscript is a mature and elegant piece of work. Even though transparent and fluid in appearance, its language is very dense, sombre, and there's tension throughout the entire piece. Its musical architecture feels majestic, and the long phrases bear resemblance to great composers, such as Bach. A great mastery of the lute and the spontaneity of movement round off this jewel. All together, they are the signature of the great Master of the Lute, who expresses himself very easily and genuinely to the great pleasure of his listeners, who - according to the witnesses and writings of his time - he enchanted and made dream with his music.
Synchronicity is the second full length collection from Ion, and follows on directly from their highly successful debut album, Future Forever.
The songs on this album were composed between 2007 and 2014. Some were recorded during the original Future Forever sessions but were not included in the final release because they didn't fit the style or direction of that album. Several of these tracks came out of rehearsal sessions for various concerts although the majority are studio compositions.
Updated for 2018, all of these pieces have been given a fresh coat of paint in the form of additional sounds, improved mastering and updated arrangements.
Description:
Experimental Carnatic Indian music for the inquisitive mind
Valaji is a collection of hand-picked tracks from two EPs, in which each track has a distinct theme and revolves around a particular Indian Raga.
Expect nice blends between traditional Indian and modern instruments, the strong melodic structure and intricate rhythm patterns that are typical in Indian classical music, and tracks that employ both to explore different thematic soundscapes, leading to musical surprises.
If you love Indian music and/or fusion experiments, this album is made for you!
A collection of haunting romantic original instrumental acoustic guitar tracks to sooth the soul.
I find it quite difficult to describe myself as an artist, and the music I create. Although I tinker with other instruments, I feel most at home playing acoustic or electric guitar, I've been playing on and off since I was six years old, so I guess it's a big part of who I am now. The idea for a song can start with a few words, or a guitar riff. I spend many hours recording basic ideas that sound interesting, then overdubbing other guitar parts, until I hear something that sounds right. If I get Goosebumps, it's usually a good sign. If you, the listener, play the finished song and get Goosebumps, then I guess I've done a good job.
I enjoy the process of creating arrangements for guitar, often a three or four part ensemble with other instruments thrown into the mix to add a little extra colour, and variety. I try to make my songs interesting, but not too complicated. I want people to go away humming the tunes I have created, I love it when people say "I can't get that song out of my head". I recommend you stop reading and start listening now, so that you can make up your own mind.
