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1 LP -
1C 065-30 942 Q - (p) 1978
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1 CD - 8
26511 2 - (c) 2000 |
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1 CD -
CDM 7 63418 2 - (c) 1990 |
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EL BARROCO ESPAÑOL - "Tonos
Humanos" und instrumentalmusik um
1640-1700 |
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"TONOS
HUMANOS" a solo con instrumentos |
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- Deza la aljava
(Ayroso) (De Milanes, 17 Jh.)
- Gesang, Clavicembalo,
Guitarra, Viola da gamba, Basse de
Violon |
3' 12" |
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- Aquella Sierra
Nevada (Passacalle a solo)
(José Marin, 1619-1699) - Gesang,
Guitarra, Viola da gamba, Basse de
Violon |
2' 41" |
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- Peynandose
estava un olmo (Juan Hidalgo,
1612-1685) - Gesang,
Clavicembalo, Viola da gamba |
1' 44" |
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Diferencias sobre las Folias
(Antonio Martin, 2. Hälfte des 17.
Jh.) - Viola da Gamba, Guitarra |
6' 47" |
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La Chacona (Antonio Martin,
2. Hälfte des 17. Jh.) - Viola
da gamba, Clavicembalo, Basse de
Violon |
5'
12"
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- Canarios (Antonio Martin, 2.
Hälfte des 17. Jh.) - Viola da
gamba, Guitarra |
0' 37" |
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"Tonos
Humanos" |
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Atiénde y da (Juan Hidalgo,
1612-1685) - Gesang, Tiorba,
Viola da gamba, Clavicembalo |
2' 59" |
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Ay Corazón amante (Juan
Hidalgo, 1612-1685) - Gesang,
Clavicembalo, Guitara, Viola da
gamba, Basse de Violon |
3' 36" |
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"Solo Humanos" |
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- Sosieguen, Descansen
(Sebastián Durón, 1660-176) - Gesang,
Viola da gamba, Tiorba, Clavicembalo,
Basse de Violon |
5' 20" |
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- Tocata und Gallarda
(Juan Cabanilles, 1644-1712) - Clavicembalo |
8' 06" |
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"Tonos Humanos" a solo
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- Con tanto respecto adoran
(Juan Hidalgo, 1612-1685) - Gesang,
Clavicembalo, Guitarra, Viola da gamba |
2' 34" |
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- No te
embarques pensamiento * (Del Vado, 2. Hälfte des 17.
Jh.) - Gesang, Clavicembalo,
Viola da gamba, Guitarra |
2' 33" |
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- Ay
que me rio de amor * (Juan Hidalgo, 1612-1685) - Gesang,
Clavicembalo, Viola da gamba |
1' 53" |
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* mit
frendlicher Genehmigung der "Hispanic
Society of America" |
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HESPÈRION XX |
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Montserrat Figueras, Gesang |
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Jordi Savall, Viola da gamba |
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Ton Koopman, Clavicembalo |
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Hopkinson Smith, Guitarra und Theorbe |
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Christophe Coin, Bass de Violon |
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Luogo
e data di registrazione |
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Evangelische
Kirche, Séon (Svizzera) - 10-16
settembre 1976 |
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Registrazione: live /
studio |
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studio |
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Producer / Engineer |
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Gerd
Berg / Johann-Nikolaus Matthes
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Prima Edizione LP |
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EMI
Electrola "Reflexe" - 1C 065-30
942 Q - (1 lp) - durata 47' 53" -
(p) 1978 - Analogico
(Quadraphonic) |
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Prima Edizione CD |
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EMI
"Classics" - CDM 7 63418 2 - (1
cd) - durata 47' 53" - (c) 1990 -
ADD |
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Edizione CD |
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EMI
"Classics" - 8 26511 2 - (1 cd) -
durata 47' 53" - (c) 2000 - ADD |
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Note |
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- |
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EL BARROCO
ESPAÑOL
Spanish music
flourished in the 17th
century, yet only now, after
two centuries of neglect, are
we beginning to realize the
greatness of this music.
Throughout the Iberian
peninsula Spanish composers,
singers and instrumentalists
have always enriched the lives
of their people, but so
popular was the music of the
17th century that it was
copied outside Spain in Italy,
France, Holland, England and
even America.
While not the only place, the
court in Madrid was the focal
point of this musical activity
from the beginning of the 17th
century. The capilla real
included 30 or 40 men who
sang, composed or played
keyboard instruments, the
harp, the “violon” (viola da
gamba), the violin, and
various wind instruments. It
provided music for all
religious and nonreligious
occasions at court, sometimes
supplemented by city musicians
from Madrid and elsewhere
inthe realm; and it also
assisted at municipal
festivities outside court
whose magnificence required
the skills and numbers of the
best musical group in Spain.
There were also gifted
musicians at the two chief
royal monastery-convents:
Descalzes Reales and
Encarnacion. Men of much
simpler outlook and ability
served the five Madrilenean
parroquial churches, several
other monasteries, and the
city. Outside Madrid elaborate
capillas were to be found in
Cathedrals and monasteries in
such places as Valladolid,
Segovia, Burgos, Palencia, El
Escorial, Barcelona, Valencia,
Seville, etc..
Religious music dominated.
Besides Latin liturgical
pieces there were primarily
the countless villancicos, and
Spanish sacred organ music
reached new heights in the
hands of Correa de Arajo (c.
1575-1654) in Jaen and Seville
and Cabanilles in Valencia.
But there was also much
secular music. The tono
humano (secular song),
which often was intended to be
sung as part of a zarzuela or
opera, consists of a series of
stanzas (coplas) sung
to the same music; usually
there is also a refrain (estribillo)
which precedes and follow each
copla. Most tonos are
for one voice with
accompaniment of basso
continuo (lute, harp, guitar
or harpsichord with violon)
and occasionally obligato
instruments (violin, oboe).
Early in the 17th century,
however, secular songs are
usually polyphonic vocal
pieces (romances, letras and
other poetic types), collected
in cancioneros, or guitar
pieces with improvised vocal
lines. They customarily have
instrumental ritornellos
(frequently termed pasacalla,
folia, ruggiero, or chacona),
a practice which was less
common in the second half of
the century. Only in the
middle of the century did the
classical tono humano
as described above begin to
appear, and it is this song
which is represented in this
recording.
One of the most popular
composers in the 17th century
in Spain was Juan Hidalgo. A
member of the capilla real
from about 1631 until his
death in 1685, he was
primarily a harpist and
harpsichordist. As a composer
he attained considerable fame
for his tonos humanos
and for his dramatc music. He
worked closely with Calderón de
la Barca, the principle
mid-century court poet and
dramatist, with whom Hidalgo
helped create the earliest
Spanish operas c. 1600. In the
operas Hidalgo incorporates
the Italian recitative style
as well as more traditional
strophic arias and choruses.
For the Spanish Queen Mother’s
birthday on December 22, 1672,
Hidalgo composed music for
Juan Vélez
de Guevara`s “Los celos hacen
estrellas”, which may be the
earliest zarzuela whose music
survives intact. The five tonos
humanos on this
recording are typical of
Hidalgo’s music. On the one
hand the short “Ay que me rio
de amor" (3 coplas and
estribillo) is
folklike: triple dance rhythm
with hemiolas, small range,
syllabic. On the other hand
the long “Ay Corazon amante"
(6 coplas and estribillo)
is Italianate:
ornate runs that paint the
words “exciting the sea into
waves" (alborotado el mar
en olas).
“Con tanto respecto adoran” (5
coplas and estribillo),
“Peynandose estave un olmo”
(only 1 copla and the
estribillo survive),
and “Atiénde y da” (6 coplas
and estribillo) have
considerable motivic
development that demonstrates
Hidalgo’s artistic virtuosity.
Few musicians can claim the
notoriety that surrounds the
name of José Marín,
perhaps the greatest Spanish
song writer. Born c. 1619, he
was an ordained priest serving
in the Encarnacion Monastery
when, in 1654 and again in
1656, as legend has it, he was
imprisoned, accused ot robbery
and several murders, whipped,
unfrocked, and banished from
Madrid for ten years (the last
sentence of which was not
completely carried out since
he was again in Madrid in
1657). Little else is known
about him, but he was
sufficiently worthy to merit
an obituary in the Gaceta
de Madrid on March 17,
1699, where his age is given
as 80 and it is stated that he
was “known in and outside
Spain for his rare skill in
composition and performance.”
All Marín’s
surviving works are tonos
humanos, about 60 for
one voice and two for two
voices, accompanied by guitar
or basso continuo. “Aquella
Sierra Nevada” survives in two
versions. The one used here is
for solo soprano accompanied
by a guitar of 5 strings
(Fitzwilliam Ms.);
it has 6 coplas with an
instrumental ritornello at the
end of each copla,
and there is no estribillo.
The other version is a duo for
soprano and tenor with basso
continuo accompaniment (Madrid
Bibl. nac. Mus.
3881, no. 33); it has no
ritornello but, in addition to
the 6 coplas, whose
soprano music is the same as
that in the Fitzwilliam Ms., it
does have an estribillo.
Marín
sings in glorious rapture over
the seasonal changes in
nature, “but in my sorrow
there is no change.” Juan del
Vado flourished in Madrid from
1660 to the 1680`s. He was
both organist and violinist in
the capilla real and
came from a family of
violinists (his brother
Bernardo joined the capilla
real as violinist
in 1648 and Felipe del Vado,
probably a relative and
wrongly identified as Juan by
some scholars, joined as
violinist in 1633). Although
famous as a composer of
secular tonadas during his own
lifetime, he is known today
for a large amount of sacred
music, principally in two
large manuscripts in the
Madrid Bibi. nac. His tonos
can be found in the
Cathedrals in Segovia and
Valladolid and in libraries
in Barcelona, Madrid, Munich
and New York. “No te
embarques pensamiento" warns
of the lure of Sirens, whose
voice and harmony can
destroy one. It
consists of two coplas
surrounded by an estrebillo.
“Dexa la aljava y las
flechas" by the unknown
composer De Milanes, is a
typical tono
with a long estribillo
and 4 coplas; it
also has a final refrain.
Syllabic except for a
poignant “Ay” in the estribillo,
it is addressed to Cupid,
the all-powerful one.
The last great maestro in
the 17th century capilla
real was Sebastián
Durón.
After a successful career as
organist in the Cathedrals
of Seville (1680-1685),
Burgo de Osuna (1685-1686)
and Palencia (1686-1691),
Durón
became the successor to José
Sanz as second organist of
the capilla real.
His fame as an organist,
however, was greatly
surpassed by his fame as a
composer of sacred vocal
music (archives in Spain,
Latin America and elsewhere
are full of these Latin and
Spanish works) and as a
composer of zarzuelas and
operas for the royal
theatre, of which he became
a director. In
1706 when Carlos II
was forced from the throne
of Spain, the loyalist Durón
was driven into exile in
southern France, where he
spent the remainder of his
life. He was a prolific
composer whose works
sometimes are traditional
Spanish types - semi-sacred
villancicos and tonos
humanos - but at
other times new Italian
types - cantatas resembling
those of Alessandro
Scarlatti with da capo arias
and recitatives. The latter
were often so florid that
his contemporaries
criticized Durón
for introducing too many Italianisms
into Spain, though surely
Hidalgo and others had
already made much use of at
least some recitative and
other Italian
devices. “Sosieguen,
descansen" is not so radical
a departure from Durón’s
Spanish predecessors’ music
for zarzuelas. It is
a segment of the comedia
héroica “Salir el amor
del mundo" (which may be the same
as the very early 1680
zarzuela “Venir el amor al
mundo"), a fiesta in two
acts (jornados) with
a preliminary loa,
performed before the king. It is
traditional in that it opens
and closes with an estribillo
and includes inbetween three
coplas; it is forward
looking in that it also
includes a dramatic
recitative after the three coplas
and before the return of the
estribillo.
The estribillo
uses expressive musical
intervals, especially a
downward leap. A change of
meter from duple to triple
distinguishes each copla
here from the traditional copla
which is in only one meter.
Juan Cabanilles was the
greatest Spanish organist
ofthe 17th century. Born in
Algemesí
(near Valencia) on September
5 or 6, 1644, he was
appointed first organist at
the Cathedral in Valencia in
1665, where he remained for
the rest of his life.
Apparently a condition of
his job was for him to
become a priest, for one
month after his appointment
he started working on minor
orders and was ordained on
September 22, 1668. He was
not only a famous composer
and performer in his own
time but also a highly
respected teacher. Pupils
came from all over Spain and
France, and some of them
helped fashion keyboard
styles in the 18th century.
Cabanilles’s surviving
compositions are almost
exclusively sacred keyboard
works, though there are
eight liturgical vocal works
(including a Mass) found
today in Valencia and
Barcelona. He wrote hundreds
of organ verses (i. e.,
organ arrangements of or
accompaniments to psalms,
hymns, Mass sections, the
Magnificat, etc.), 183
tientos, 6 toccatas, 5
galliards, pasacalles,
batalles, paseos and 1
corrente. The keyboard
instrument was probably
organ for most of these
pieces, but performance on
the harpsichord would have
been a likely option for any
of them and the likely
choice for the secular
galliards and corrente. The
two works performed here - a
toccata and a galliard -
demonstrate Cabanilles’s
extraordinary inventiveness
in harmony and figuration.
The short toccata is
basically homophonic; in two
sections, the first is with
simple elaboration of the
chords and the second, which
begins without any break, is
a faster, more complicated
elaboration, with rapid
modulations. The galliard is
in duple meter and thus has
no tie to the well-known
17th-century dance of that
name in triple meter. It is
along set of variations, far
exceeding the toccata in
complexity and intensity,
and it is one of
Cabanilles’s most brilliant
works.
Antonio Martin y Coll was
one of the leading Spanish
organists of the next
generation. He studied at
the Franciscan Monastery San
Diego in Alcalá de
Heneres where he also was
organist, and later he
served as first organist at
the Monastery San Francisco
el Grande in Madrid,
remaining there until his
death. He published five
large volumes of music,
mostly for the organ
(1706-1709). Volumes 1-4
contain almost 2000 works by
other, mostly anonymous
composers, and present a
good sampling of
17th-century Spanish organ
music. Volume 5 contains
Martin y Coll’s own works,
mostly verses. Not all the
works are intended for the
organ; volume 5 includes
Martin y ColI’s treatise on
keyboard instruments in
general and the harp, which
suggests that many of the
pieces might be performed on
any keyboard instrument or
the harp, and some
of the pieces in the earlier
volumes actually designate
other instruments.
Furthermore, it is possible
that the secular works such
as the three on this
recording would have been
just as appropriately played
on gamba, with harpsichord
or lute and violon as
sustaining instrument, as on
the organ. The first Diferencias
(variations) will
immediately remind the
listener of Corelli’s more
famous setting of the same
harmonic bass “La Folia".
The Chacone and Canary are
also harmonic bass patterns.
The Chacone is based on the
pattern G - F - E flat - D -
D - G. The Canary, taken
from a famous
late-16th-century court
dance, is the shortest of
the three variations; the
bass pattern is D - G - F
sharp - E - D.
John H.
Baron
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EMI Electrola
"Reflexe"
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