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Christophorus | MEDIEVAL Y RENACENTISTA (1 CD)

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16,95 €

Flores españolas
Obras para consort de violas y guitarra


REF.: CHR 77418
EAN 13: 4010072774187
Si realiza el pedido hoy, este producto estará listo para ser enviado el lunes 26/08/2019

El arte en las España de los siglos XVI y XVII tiene tal diversidad y riqueza (El Greco, Velázquez, Calderón de la Barca o Cervantes) que a veces se dejan de lado unas músicas igualmente sugestivas. Es ese mundo de jácaras, tientos y marizápalos de la guitarra renacentista y barroca el que recorre María Ferré en el presente disco con continuas muestras de conocimiento y virtuosismo.

FECHA DE PUBLICACIÓN
01/02/2018

INTÉRPRETES
Maria Ferré, guitarra renacentista y barroca
Les Escapades


CONTENIDO
Flores españolas

Luys de Milán (um 1500-1561)
1 Pavana y Gallarda 3:24
Pablo Bruna (1611-1679)
2 Tiento de falsas de primer tono 2:55
Gaspar Sanz (1640-1710)
3 Hachas 6:21
Diego Ortiz (c 1510/25? - 1570)
4 Recercada quarta 1:31
Pablo Bruna
5 Obra de 5° tono por Ce sol fa ut 3:43
Antonio de Cabezón (1510-1566)
6 Diferencias sobre el canto Ilano del Cavallero 2:35
Pablo Bruna
7 Tiento de falsas de segundo tono 4:56
Juan del Encina (1468-1529)
8 Fata la parte 1:46
Antonio de Cabezón (1510-1566)
9 Diferencias sobre el canto de La Dama le demanda  2:49
Gaspar Sanz
10 Rugero y Paradetas 2:22
Sebastián Aguilera de Heredia (1561-1627)
11 Tiento de 4° tono de falsas 3:24
Diego Ortiz
12 Recercada ottava 2:02
Francisco de la Torre ? (1470-1520)
13 Danza alta 1:15
Gaspar Sanz
14 Mariçapalos 3:52
15 Jacaras 2:19
Antonio de Cabezón
16 Pavana Italiana 2:24
17 Diferencias sobre la Galliarda Milanese 2:36
Gaspar Sanz
18 Folias 1:58
Anonym
19 Hespanoleta 2:09
Juan Cabanilles (1644-1712)
20 Pasacalles 2:23
Santiago de Murcia (1673-1739)
21 Gallardas 3:52
Juan Cabanilles
22 Diferencias sobre las Folias 5:40

1 CD - DDD - 62:30

RESEÑA (La Quinta de Mahler)

Art flourished in Habsburg Spain in the 16th and
17th centuries, with its rich and diverse range of
works. El Greco and Diego Velásques, the court
painter of Philip IV, were already famous during
their lifetime. The court playwright Pedro Calderón
de la Barca enjoyed the highest esteem and
Miguel de Cervantes Saavedras is still celebrated
as a national poet to this day. Their time came
to be known as the golden century of Spanish
history and can be considered as a transition between
Renaissance and Baroque.
In 1626, in Alcalá de Henares, the university
town on the outskirts of Madrid where Miguel de
Cervantes was born and where Calderón studied,
a remarkable collection of music was printed:
Libro de tientos y discursos de musica practica,
y theoretica de organo, intitulado Facultad Organica.
It was commissioned by the organist and
composer Francisco Correa de Arauxo (1584-
1654), who immortalises 69 pieces for the organ
from earlier times as well as works by Spanish
contemporaries. To this end, he provided theoretical
considerations and practical instructions
on playing the “tientos”, which contains highly
virtuosic passages and constitutes a form related
to the Italian Ricercar. He gives insights into the
performance of “glosas” (diminutions),”adornos”
(ornaments), special rhythmic idiosyncrasies
such as “ayrezillo”, tempi and measures, the socalled
“cifra” (tablature notation) and “falsas”
(dissonances). In short, an incredible Iberian musical
treasure is handed down and preserved by
Arauxo for posterity. This is proof of a Siglo de
Oro of the Spanish organ guild, even before the
great Juan Cabanilles (1644-1712), who is nowadays
often portrayed as a Spanish Bach. Facultad
Organica does not only contain masterpieces of
Antonio de Cabézon (1510-1566), ”Músico de
la cámara” at the court of the Spanish Habsburg
in Madrid, there are also works by largely forgotten
composers; Sebastián Aguilera de Heredia
(1561-1627), organist at the Cathedral La Seo
in Zaragoza or the organist Pablo Bruna (1611-
1679) from Daroca, blind like Antonio de Cabézon,
hence named “El ciego de Daroca”.
Les Escapades became aware of these Iberian
musical treasures through a guest appearance at
the Early Music Festival in Daroca in 2015. The
Romanesque walls of the Santa María la Mayor
y de los Sagrados Corporales contain one of
the unique organs of this period. The blind Pablo
Bruno worked his whole life here. And the
festival’s director, organist José Luis González
Uriol, feels naturally responsible for his work.
With Obras completas para órgano de Pablo
Bruna he even initiated the first new edition of
Pablo Bruna’s traditional organ works. And why
not perform his organ works in the Gamba Consort?
This becomes obvious in that the mid-tone
tuning of these organs on viola da gamba can
be realized by means of split frets. The structure
can be made colourful and dynamic. Above all,
however, violas are able to perform this repertoire
in other places, detached from the organs.
The organ works of this period are by no means
only sacred music. Among them are virtuoso
variations on song melodies such as Cabézon’s
Diferencias sobre il canto Ilano del Caballero
or Diferencias sobre il canto de La Dama le demanda,
with virtuoso adaptations of a chanson
that became famous under the title Belle qui
tiens ma vie and had obviously reached Spain.
Juan del Encina composes variations on an alley
hit or “villancico populare”, which tells of
a man who discovers his wife’s infidelity, kills
her and announces it as a warning to the world.
And last but not least, the tientos come up
with unheard-of dissonances, the Falsas, as in
Bruna’s Tiento de falsas de primer tono or his
Tiento de falsas de segundo tono.
Les Escapades followed a dramaturgy of versatility
and variety in their excursion into the world
of Spanish sound. And, of course, they did not
sideline the first Spanish viol composer Diego
Ortiz (about 1510/1525 - about 1570). Born
in Toledo, he came all the way to Italy, for the
Grand Duke of Alba ruled as Spanish viceroy in
Naples. The Spaniards were present in Italy. His
Recercadas published Ortiz in a collection in
Rome in 1553 under a Spanish title. His Tratado
de Glosas sobre cláusulas y Otros Géneros de
Puntos en La Música de Violones is one of the
oldest teachings in diminution and ornament. In
the second part, he provides examples of solo
playing - among others about well-known dance
rhythms and harmonies of a “passamezzo antico”
and “nuevo”, “rugero” or in his Recercada
quarta and ottava about the “folia”.
If an instrument could be assigned to the people
of Spain, then surely it would be the guitar.
The gambas, “Vihuele de arco” were also born
from the “Vihuela da mano”, an early form of
the Spanish guitar. And so Les Escapades join
forces with the Catalan guitarist Maria Ferré for
their colourful bouquet of Spanish music. One
of the first guitar composers known by name is
Gaspar Sanz, who, like Ortiz, visited Naples and
Rome to study with local organists. Even before
the publication of his first collection of works in
Zaragoza in 1674, his works enjoyed widespread
circulation. His Instrucción de música sobre la
guitarra española from 1674, which contains
typically Spanish dances such as “españoletas”,
“mariçapalos” and “jacaras”, was published in
eight editions in sequence. Sanz mentions in it
that the guitar may also be used as a continuoinstrument,
for in Spain, solo vocals had meanwhile
become established. Above all, the “Guitarra
española” could not only play multiple
voices, it could also be struck in chords and thus
provides rhythmic verve in this program as well.

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La sete di Christo - oratorio -
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