Saladin & Keller | Improvising on Violin in Baroque Style · MarchVivo

There are a multitude of sources documenting the characteristics of improvisation in baroque music. Among the most common were the open sequential forms (such as the variation) and the so-called diminutions, which started from a pre-existing material to which they incorporated a rich ornamental fabric. This excerpt from the cycle "Improvising" presents two illustrative examples of these Baroque practices. The listener is challenged to investigate the complex relationship between score and interpretation: improvisation as a tool to intervene on the works.
00:00 Greeting
00:23 William Byrd (1543-1623) - Variations on “Hugh Ashton’s Grownde”, BK 20 (My Ladye Nevell’s Virginal Booke, 1591), combined with improvised variations on the same theme
06:27 Orlando di Lasso (1532-1594) - Improvised diminutions on Susanne un Jour, LV 98 by Orlando di Lasso
Eva Saladin, violin. Johannes Keller, harpsichord
Concert (excerpt) "Partita, Diminution, Variation" from the cycle "Improvising"
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26 April 2023
Fundación Juan March, Madrid
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[@moogfooger]

This is wonderful. Byrd singing his joyous tune passed down through the centuries to a receptive musical presentation. Am I in heaven? Cheers

[@earlystrings1]

An absolute and rare delight! In the 17th century, probably the majority of music was made this way. I love how uncompromising and masterful Saladin’s violin sound is.