Ferrabosco II: The Art of Fantasy Hathor Consort & Romina Lischka
- Alfonso Ferrabosco II (1575 - 1628):
- 1Fantasia No. 2 à 6, MB 81/3004:24
- 2Fantasia No. 15 à 4, MB 62/1502:01
- 3Pavan No. 2 on Seven Notes à 5, MB 81/704:49
- 4Almaine No. 10 à 5, MB 81/2402:04
- 5Galliard for Two Viols in the First Tuning03:23
- 6Almain for Two Viols in the First Tuning02:41
- 7Fantasia No. 9 à 4, MB62/903:18
- 8Fantasia No. 13 à 4, MB 62/1303:08
- 9In Nomine No. 1 à 5, MB 81/303:02
- 10A Pavin for Three Viols in the Second Tuning04:42
- 11Almain for One Lyra Viol03:55
- 12Coranto for One Lyra Viol01:47
- 13Fantasia No. 4 à 6, MB 81/3203:29
- 14Ut Re Mi Fa Sol La - La Sol Fa Mi Re Ut à 5, MB 81/2a&b07:39
- 15Fantasia à 4, MB 62 App./VdGS No. 2402:14
- 16Fantasia No. 6 à 6, MB 81/3403:18
- 17A Fancie for Three Viols in the Third Tuning02:25
- 18Fantasia No. 11 à 4, MB 62/1102:49
- 19In Nomine No. 3: Through all Parts à 6, MB 81/2804:54
- 20Prelude for One Lyra Viol01:28
- 21Pavin for One Lyra Viol05:12
- 22Fantasia on the Hexachord à 6, MB 81/2503:47
Info zu Ferrabosco II: The Art of Fantasy
Alfonso Ferrabosco the Younger, viol player at the court of Elizabeth I and Charles I, was the most innovative and influential composer of viol consort music of his generation. Following the steps of his father, composer Alfonso Ferrabosco the Elder, he continued the specifically English « In Nomine » tradition for viol consort into the seventeenth century while adding his own special touch in the In Nomine through all parts in using the cantus firmus in all voices with various rhythms and transpositions. His greatest achievement was the development of an imitative counterpoint perfectly adapted to the viol. The particular character of Ferrabosco’s music was determined by his love for architecture and symmetrical forms which were integrated in all possible ways into his Fantasies: flexible motives, augmentations and diminutions of themes and a clear harmonic structure.
Romina Lischka, viola da gamba, direction
The Hathor Consort
was founded by Romina Lischka in 2011 with the aim of interpreting renaissance and baroque consort music in various instrumental combinations based upon the viol.
The ensemble takes its name from the goddess Hathor, a mother deity of ancient Egypt. Worshipped as ‘Mistress of the West’she welcomes the dead into the afterlife and is regarded as a goddess of dance, art and music. Hathor is also known as the primordial mother or receiving element and embodies the principles of love and all concerning the heart.
The Hathor Consort presented their first programme ‘Consort Songs and Fantasias by William Byrd’with the countertenor Marnix De Cat in the Network Oude Muziek 2013.
In 2012 they worked on the Manufacture Project ‘Lachrimae - The Seven Teares of John Dowland’ with dancer Femke Gyselinck in dialogue with new music of the Belgian composer Annelies Van Parys. The world premiere of 'Lachrimae' took place in May 2015 in Concertgebouw Brugge and was followed by performances in 'The Cottier Chamber Project' in Glasgow, UK, Festival Trigonale, A, and De Link, Tilburg, NL.
With their first recording 'Lachrimae' of Dowland, The Hathor Consort received subsidy from the Flemish government. The recording was well received by the press (IRR outstanding, Klara's 10 nomination, 4 diapasons).
Since 2015 The Hathor Consort has further developed new projects such as Dhrupad Fantasia – a meeting of Elizabeth I England and the Dhrupad-tradition at the mogul court of Akbar the Great, Consort Music of William Lawes, as well as collaborations with the vocal groups Pluto-Ensemble of Marnix De Cat and Collegium Vocale Gent under the direction of Philippe Herreweghe.
The Hathor Consort performsin such Festivals and venues as Musikfestspiele Potsdam, Festival van Vlaanderen Gent + Mechelen, Warsaw Philharmonie, Jeunesse Österreich/Wiener Konzerthaus, BOZAR, Philharmonie Essen, Festival Trigonale, A , EMF York, Philharmonie Köln, Festival Utrecht, Muziekcentrum de Bijloke Gent, Wigmore Hall, Abbatial, MA-Festival Brugge, Festival Sablé, etc.
was born in 1982 in Vienna, Austria. She began her musical studies with the guitar at the age of 7, turning to the viol 6 years later. She continued studying the two instruments in various music academies in Vienna, pursuing her guitar studies with Walter Würdinger at the Universität für Musik Wien from 1999 until 2002. Her interest in early music brought her to the Schola Cantorum in Basel, Switzeland, where she studied viola da gamba with Paolo Pandolfo. She received her soloist's diploma with distinction in 2006. Romina then continued her studies with Philippe Pierlot at the Royal Conservatory in Brussels, completing her Master's degree with distinction in 2008. In addition, she participated in masterclasses with Wieland Kuijken, Jordi Savall and Sophie Watillon, as well as the summer academy in Ambronay, France, under the direction of Christophe Rousset.
Since 2008, she has developed her activities as a concert artist, playing with such ensembles as Collegium Vocale Gent (Philippe Herreweghe), Ricercar Consort (Philippe Pierlot), Les Flamboyants (Michael Form), Gli Angeli Genève, Barokksolistene, Il Gardelino, MCO, Le Jardin Secret, B-Rock, Vlaamse Opera, Zefiro Torna, Roza Enflorese…
performing in the festivals of Midi Minimes, Early Music Festival York, BOZAR, AMUZ, de Dag van de Oude Muziek, Brighton Early Music Festival, Festival de la Roque d'Antheron, Züricher Tonhalle, Kongress Innsbruck, Festival de Labeaume, Teatro Maliban, Concertgebouw Amsterdam, Lincoln Center NY, Festival d‘Aix en Provence, Folle Journée in Nantes und Tokio…
In 2012 she performed in the world premiere of George Benjamin's Opera 'Written on Skin' - a production she follows still today all over Europe and Asia.
She has recorded for the labels Ricercar, Flora, Coro, Christophorus, Musica Ficta, Fuga libera and Paraty.
Romina's passion for the classical music of North India of the Dhrupad style brought her to study Indian singing with Ustad Fariduddin Dagar in Delhi and Uday Bhawalkar in Pune, and at the conservatory of Rotterdam, where she received her Bachelor's degree of vocal studies in 2010.
She has been chosen as “Rising Star” of BOZAR and Concertgebouw Amsterdam for the 2012-13 season in the category of early music. Her first solo CD 'Pièces de viole de Sieur de Machy' received a Diapason 5. 'En Suite' the first CD of her duo with Sofie Vanden Eynde with music of Marin Marais and Ste. Colombe received the Klara price 'best classical recording of 2015'.
In 2012 Romina created her “Hathor Consort,” which is dedicated to the exploration of the consort repertoire from the Renaissance to the Baroque. The first CD of her ensemble 'Lachrimae' of John Dowland was well received by the press (IRR outstanding, Klara's 10 nomination, 4 diapasons).