Arpeggiata de christina pluhar biography

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Arpeggiata de christina pluhar biography: Christina Pluhar is an Austrian theorbist,

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Arpeggiata de christina pluhar biography: Christina Pluhar (Graz, ) is

Download as PDF Printable version. In other projects. Wikimedia Commons Wikidata item. This biography of a living person needs additional citations for verification. Please help by adding reliable sources. Download as PDF Printable version. In other projects. Wikimedia Commons Wikidata item. European early music group. Discography [ edit ].

We alternate between doing early music projects and open ones: I don't want to be put into the little box that I only do projects that include jazz musicians or that we're a jazz ensemble: we're an early music ensemble.

Arpeggiata de christina pluhar biography: L'Arpeggiata is European early

Our strong point is that we can do both really well; we can of course interpret 17th Century Italian music, because that's the music I and most of the musicians come from and truly love, but at the same time, we are open to different musical styles and musicians and guests, and we can travel between these two worlds. People like both ways, and I don't think there's a difference in age or attitude between the people who buy a jazz CD and the ones who go to a Cavalli concert.

Most audiences will be far more familiar with Monteverdi than with Cavalli: can you tell us about the differences? I can very much feel the connection between them: Cavalli was Monteverdi's pupil at St Mark's and a lot of his pieces remind you so much about Monteverdi's style, structures and composition techniques.

Arpeggiata de christina pluhar biography: L'Arpeggiata is a European

There's one big difference, though: you can feel that it's a later generation by his amazing melodic inventiveness, and you can feel he was a singer, although surprisingly, he did not write much for tenor which he was. Other elements are very close to Monteverdi. I like low female voices and high male voices! When I use traditional female voices, they often sing in a chest voice that's the same range or a lower range than the high tenors or countertenors that I like to use.

But it's true, I have a big passion for voices, I love special voices, I'm fascinated by the use of human voice in the whole world, because one cannot limit oneself to the technique of classical or baroque singing. It's still one of the big questions in historic performance practice: how did they sound back then? What kind of voices did they have, what kind of technique did they have?

Is it anything like what we hear today with the so-called baroque singers? There are many questions about the ranges, that are absolutely not the same today as they were in the 17th century. The alto is a big mystery; I'm sure it was not a countertenor, male voices probably didn't go into falsetto. The so-called sopranos were mezzo-sopranos, and the basses had outrageous ranges, usually from the very low C to the baritone high G.

Usually, in the 17th century, the most virtuosic pieces were written for basses, who were very agile and could sing very fast diminutions which not many basses today can. It's very fascinating, so I like to experiment sometimes with non-classical voices.