Cabezon, Ganassi, Ortiz: THE ART OF VIHUELA DE ARCO

S.Ganassi: Recercar, D.Ortiz: Recercadas, A. de Cabezón: Fabordón, Para quien crie yo cabellos, Mort ma Prive par sa cruel Eia Ergo (Buxheimer Orgelbuch, 1470)

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Originally from Alicante (Spain), the outstanding gambist, cellist and musicologist Fernando Marín has specialized in early bowed instruments of the Renaissance and Baroque periods, historical interpretation and chamber music. He received his doctorate in musicology with his thesis on the Hispanic Bowed Vihuela (its sound and gut strings). Through his research on its origins, ways of interpreting and repertoire of these instruments, he has developed a specific technique of bowing and accompanying the voice as well as contributing to the manufacture of historical gut strings. He studied in Prague (CZ), Cologne (DE) and Brussels (BE) being Wieland Kuijken one of his most renowned professors. Together with soprano Nadine Balbeisi, he founded the duo Cantar alla viola, dedicated for over 15 years to the interpretation of medieval and renaissance music. His art of accompanying the voice can be heard in his recordings: The Complete Polyphonic Works by Juan Blas de Castro (1561-1631), Robert Jones: The Second Booke of Songs and Ayres (1601), the Vihuela de Arco in the Kingdom of Aragon, Each Lovely Grace: The second book of Ayres by William Corkine (1612) and Segreti Accenti with works by Luca Marenzio, Costanzo Festa and Luzasco Luzzaschi. F. Marín has also recorded four solo CDs: eVIOLution on the evolution of the Viola da Gamba, sCORDAtura, on gut strings in different tunings, The Art of the Vihuela de arco (2017) and Magia consoni et Dissoni. He published several articles in the journals for musicology Nassarre and Quodlibet. Together with Nadine Balbeisi and the Brazilian composer, choir conductor, jazz and clavichord player Jean Kleeb, he founded the trio Viola da Samba, recording his first CD De río a Rio in 2015. Fernando Marín maintains active researching and teaching historical interpretation and early bowed instruments in Europe and the USA. He is currently, and since 2003 the Viola da Gamba teacher at the Conservatorio Profesional de Música in Zaragoza.

One Comment on “Fernando Marin

  1. Pingback: The art of the Vihuela de Arco, Fernando Marin | Da Vinci Edition

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