Parthenia Catalina Vicens

• William Byrd (c. 1540-1623)
• 1Preludium01:00
• 2Pavan and Galliard No. 2 in G minor, 'Sir William Petre'05:22
• 3Galliard (Sr. Wm. Petre)02:33
• 4Preludium01:23
• 5Galliard in C major: No. 4. Mistress Mary Brownlow03:40
• 6The Earl of Salisbury02:24
• 7Galiardo (The Earle of Salisbury)01:56
• 8Galiardo Secundo (The Earle of S.)03:13
• Dr. John Bull (c. 1562-1628)
• 9Prelude01:00
• 10Pavana St. Thomas Wake 402:42
• 11Galiardo St. Thomas Wake03:19
• 12Pavan No.205:20
• 13Galiardo02:43
• 14Galiardo02:43
• 15Galiardo02:14
• Orlando Gibbons (c. 1583-1625)
• 16Galiardo03:00
• 17Fantazia of foure parts06:09
• 18The Lord of Salisbury his Pavin05:35
• 19Galiardo (The Lord of Salisbury)03:01
• 20The Queenes Command03:40
• 21Preludium01:50
• Total Runtime01:04:47

Info for Parthenia

„Parthenia“ is a collection of pieces for harpsichord and virginal composed by the three famous composers Byrd, Bull and Gibbons, printed in London in 1613 and dedicated to the marriage of Maria Stuart and King Frederick V.

The Chilenian harpsichordist Catalina Vicens celebrates the 400-year anniversary of this unique edition of English renaissance keyboard music on her debut album. To make this already diverse collection even more colorful, she uses not less than six different instruments, 3 of which are 17th c. originals. Enjoy this delicate boquet of early keyboard pieces played on virginals, harpsichords, spinettino and Muselaar, just as the royal couple may have enjoyed it for relaxation and amusement in good company.

Catalina Vicens, harpsichords & virginal
Rebeka Rusò, treble and bass viol

Instruments:
1. Italian harpsichord, copy by H. Dupree, Seattle 1978, after anonymous instrument from the “Staatlichen Institut für Musikforschung Preußlicher Kulturbesitz Berlin”.
2. Italian harpsichord (original), Florentine School. Inscription: Antonio Nobili in Roma fec 1695. Presumed to be from Cristofori workshop ca. 1726.
3. Spinettino (original), unsigned, Napoli, 1st half of the 17th century.
4. Virginal (original), unsigned, Switzerland, 17th century.
5. Double Virginal “Mother & Child”, copy by John Koster, Boston 1974, after instrument by Hans Ruckers, Antwerpen 1591.
6. Double manual harpsichord, copy by William Dowd, Paris 1975, after instrument by Andreas Ruckers, Antwerpen 1620.
*Treble and bass viols by Sergi Casademunt, Barcelona, 2004, after 16th century models.

Catalina Vicens
Catalina was born in Santiago de Chile. She began her piano studies as a young child and at the age of 18, she won a full scholarship to study harpsichord at the Curtis Institute of Music, Philadelphia with Lionel Party. After graduating from Curtis she continued her studies at the Musikhochschule Freiburg with Robert Hill and at the Schola Cantorum Basiliensis (Basel) with Andrea Marcon. At the latter institution, she pursued further graduate studies in Medieval Keyboards with Corina Marti and postgraduate studies in Contemporary Music with his- torical keyboards at the Musik Akademie Basel. Catalina has taken harpsichord masterclasses with Gustav Leonhardt, Jesper Christensen, Christophe Rousset and Mitzi Meyerson, amongst others. With her interest in historical percussions, she has studied with teachers such as Pedro Estevan, Michael Metzler, Philip Tarr and also studied Iranian percussion with Madjid Khaladj.

At a young age Catalina already began performing in venues like Kimmel Center (Philadelphia, USA), Teatro Colon (Buenos Aires, Argentina), Teatro Municipal (São Paulo, Brazil), Theater Basel (Switzerland), Palace of the Arts (Budapest, Hungary), Semperoper (Dresden, Germany), and and she has taken part in radio broadcasts in the USA, Chile, Germany and Switzerland. She has performed under the direction of well-known conductors such as Gottfried von der Goltz, Andrea Marcon, MarioVidela, Joseph Silverstein, Otto-Werner Müller and Carlos Miguel Pietro.

In 2008 she won the 1st Prize at the International Historic Keyboards Competi- tion. “Fritz Neumeyer”, Germany. She has performed as a soloist in Europe, South America and the USA, and enjoys playing in several ensembles of Medieval, Renaissance, Baroque and Contemporary music. Catalina has been invited to give lectures and master-classes in Central Europe, Great Britain, Scandinavia and South America.

Booklet for Parthenia