"Ricercar" means "to search out." This Recercada was first published in 1533. Diego Ortiz was a Spanish composer who published the first manual on ornamentation for bowed string instruments, including many written-out examples of improvisation on repeated chord progressions.

The musical landscape of the 18th century British Isles represents the final ovation of the pre-Classical era—a setting that celebrated the integration of diverse voices prior to the rise of the 19th century nationalism and exoticism that came to dictate Europe’s musical output. Rather than viewing the century as a period of “foreign domination,” the epoch ushered in a new taste for the antique and the adopted, distilled with British dignity. Fueled by Italophilia, the transplantation and transformation of the Italian style begot an extraordinary appreciation for the violoncello and the mass publication of violoncello treatises and solo repertoire, prolonging the fervor for its earliest usage as a solo instrument in 17th century Italy. This luscious movement of Violoncello Sonata No. 6 by Stephen Paxton, cellist, represents a Briton writing in this blended style and is, in my opinion, one of the finest jewels of this exceptional era. My arrangement can be purchased here.

Erin Lupardus, Anna Schiffkorn, and Julia Willeitner

Recorder: Elisabeth Tomani

Oboe: Vera Turkova

Cello: Erin Lupardus

Harpsichord: Andreas Stöger

Even before the 18th century, there were some instances of aspirational Italianism by British composers. An early example of this is evident in the activities of John Coperario (1570–1626). After Coperario returned from his alleged exploits in Italy, Roger North, a biographer and amateur musician, remarked that his name “was plain Cooper but affected an Itallian [sic] termination.” This Fantasia was written for two viols, the viol being the preferred solo bass instrument prior to the 18th century in England. Here it is reimagined for violin and piccolo violoncello.