DOCSLIB.ORG

Los Ecos De Manzanares

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Los Ecos De Manzanares Los ecos de Manzanares CANCIONERO DE LA SABLONARA 17th Century Spanish Court Music La Boz Galana Los ecos de Manzanares Cancionero de La Sablonara, 17th Century Spanish Court Music Gabriel Díaz c.1590-c.1631 Mateo Romero c.1575-1647 Anonymous Joan Pujol 1570-1626 1. Barquilla pobre de remos 4’32 6. Bullicioso y claro arroyuelo 3’09 12. De tu vista celoso 2’12 14. Llamaban los pajarillos 2’58 Romance for 4 voices (Tutti) Seguidillas for 2 voices (LA, SL, GB) Seguidillas with echoes for 4 voices Romance for 4 voices (Tutti) (LA, SM, SL, GB, LC) Diego Gómes c.1550-1618 Juan Blas de Castro 1561-1631 Flores de música, lisboa, 1620 2. En el valle del ejido 4’26 7. Desde las torres del alma 3’52 Manuel Rodrigues Coelho 1555-1635 Romance for 3 voices Romance for 4 voices (Tutti) 13. Susana grosada 5’41 Mateo Romero (LA, ES, SL, GB, LC) Instrumental (Tutti) 15. Romerico florido 3’06 Bernardo Clavijo del Castillo 1626 Folía for 2 voices (ES, SL, GB, LC) Álvaro de los Ríos 1580-1623 8. Tiento Ileno de 2º tono 4’01 16. Fatigada navecilla 3’13 3. Sin color anda la niña 3’56 Insrumental (LC) Romance for 4 voices (Tutti) Romance for 3 voices Ed. Madrid, B.N., Ms M1360 (ES, SM, Sl, GB, LC) Mateo Romero La Boz Galana Improvisation on 17th century patterns 9. Ricos de galas y flores 2’49 Lore Agustí soprano (LA) · Eva Soler soprano (ES) 4. Folías 4’33 Romance for 4 voices (Tutti) Samuel Moreno countertenor (SM) · Sebastián León baritone (SL) Instrumental (GB, LC) Guilherme Barroso Baroque guitar & chitarrone (GB) Miguel de Arizo c.1590-c.1633 Louis Capeille Spanish double-harp (LC) Álvaro de los Ríos 10. Vistióse el prado galán 3’39 5. Pajarillos suaves 4’05 Romance for 4 voices Folía for 3 voices (LA, ES, SL, LC) (ES, SM, SL, GB, LC) Juan Blas de Castro 11. Ya no les penso pedir 4’13 Romance for 4 voices (Tutti) Recording: 13-16 October 2018, St. Ottilien Church, Tüllingen (Lörrach), Germany Recording & mixing: Daniel Capeille Production assistant: Filipa Meneses Mastering: Bernard Slobodian, Small Mastering Studio (Montreal, Canada) Ensemble photo: Dirk Letsch Cover: Frans Snyders, Concert of Birds, c.1630, Hermitage Museum, St Petersburg Manuscripts: from BSB Cod.hisp.2, fol. [III v] (page 4), fol. 46 v (page 11) p & © 2020 Brilliant Classics The Cancionero de la Sablonara is a collection polyphony to the new Baroque style: on the one hand, there are pieces of an almost made up of 75 polyphonic songs composed for madrigalesque character, with very elaborate contrapuntal and melodic imitation, and the Royal Court of Madrid during the first two on the other, completely homophonic compositions based on lively rhythms, dance decades of the 17th century. The manuscript is patterns and poems of a popular nature, such as the seguidillas. Many of the tonos of named after Claudio de la Sablonara, copyist this collection have melodies which undoubtedly come from songs for the theatre or and archivist of Madrid’s Royal Chapel, who well-known romances of the period. The texts used corroborate this, for they are also presented it to Wolfgang Wilhelm, Count of found in the ballad collections and autograph and printed songbooks. As a contrast Nuremberg and Duke of Bavaria, during his to the vocal pieces we have included some instrumental compositions from the same stay at Philip IV’s Madrid court from 1624 to period as the Cancionero de la Sablonara. 1625. Today the manuscript is kept in the State The devastating fire which levelled the Real Alcázar of Madrid in 1734 destroyed Library of Bavaria, which is why it is also called hundreds of musical works of which, unfortunately, we only have knowledge thanks the Cancionero de Munich. to catalogues and accounts of the religious and profane celebrations held at the The repertoire contained in this book could Madrid court. Having the good fortune of being abroad and thus surviving, the essentially be classified as tonos humanos, Cancionero de la Sablonara is now a tremendously valuable source of the music that or secular polyphonic songs. These pieces was heard at the beginning of the 17th century in Spain, and that would give birth represent, without a doubt, the greatest to such a characteristic poetic-musical genre of Spanish music as the tono humano, Spanish profane vocal music of the period and which would endure until well into the 18th century. were composed by some of the most brilliant © Sebastián León musicians active in the Madrid court, such as the Flemish Mateo Romero (Mathieu Translation: José Luis Greco Rosmarin), Álvaro de los Ríos and Juan Blas de Castro, among others. Many of the texts on which they were composed were written by distinguished poets of Spain’s Golden Age, such as Lope de Vega, Luis de Góngora and Francisco de Quevedo. On the Banks of the Manzanares, the Madrid of the Habsburgs revealed its true Philip IV, a great lover of music and the dance, had in his service a number of countenance. The soul of the city – it was hardly more than a town – was not to singers, who accompanied themselves on the guitar, and instrumentalists. These be found in its fountains or palaces, but rather in its teeming youth. The young did musicians belonged to an institution called “Casa de Sus Altezas” (House of Their not flee in summer; they spent it at the stifling court, finding inspiration, during Royal Highnesses) which was originally led by the composer Álvaro de los Ríos. The that season, between the glare of the sun and an earthenware pitcher of cool water. music included on this recording is representative of the transition from Renaissance Travellers gathered for the spectacle: when the heat intensified, ladies and gents flung their garments to the ground and swam naked; riding in their carriages – another Behind that cloak of music and poetry they caught a glimpse of the youthfulness to passion of the Madrileños – they drove the horses into the water, spending thus the which they were forbidden access. Between the halls of the palace and the life of the night until daybreak discovered them all bedraggled. The river was as characteristic street one had to manoeuvre myriad stairs, reputations, rigours, an army of servants; of the city’s life as the out-door theatre, the speeding carriage, the night, the guitar but here we find that all of this was overcome thanks to a particular rallying cry, the and the folía (Spanish dance). Madrid was going through a period of the most novel most important rule of those years: one of the few unforgivable things in Madrid was delights, a mood that could sprout only there, in that plaza of the footloose, shaken to ask too little of life. We can hardly understand what we call the Golden Age if we by the dream of the New World and the encounter with disparate peoples. All of this do not attend to this lust for life, to which was often sacrificed one’s profession, safety was crystalizing into a new desire for freedom and insatiable amorous games. and even, in extreme cases, one’s honour. It was not unusual for the court musician In the Alcázar, above the huddled city streets, the King lived his youth feeling to be less a musician than a ladies’ man, gambler or swordsman. One might see a God’s gaze upon him. With the hope of his faith, he applied his energies to his duties; guitarist, in the employ of the Royal Chapel, leaving a brothel or he might be a man- he read, studied the languages of his vassals – Italian, French, Catalan – answering at-arms during a lustrum; poets spent the night with play-actors, and play-actors, missives from around the world. At the same time he nourished his private artistic with all their scandalous baggage, were to be seen at the Alcázar. vocation. He and his brothers – Prince Royal and Cardinal-Infante – prized the free The artists in the entourage of the King and his brothers brought with them this lifestyle of the Manzanares. After all, they were adolescents, as prone to sensuality as ambiguousness and this whiff of bohemianism; in fact, all of this gradually became any other, and felt the desire to be a part of the city’s mysterious pulse. In the King’s the very substance of the music. Claudio de la Sablonara handed this all to the own words: for a moment, they wanted to “free themselves of divinity”. From the princes transcribed on clean sheets of paper, so they might pass the time singing. palace, one could go directly down to the river, crossing a lush park. The cartographer The romances of the blind Juan Blas de Castro told the stories of the Duke of Alba, Pedro Teixera has bequeathed us prints of each and every tree on the path that led Lope and his friends, the lament of those who had risked everything for love and to the riverbank and which today bewitches us, for it contains all of its history, in lost it all in the end. The seguidillas embodied the agile rhythms of the criminals contrast to the flower gardens of Versailles. Arriving at the riverbank, instead of and the concubines, those pursued (seguidos) by the law. The new romances were undressing and participating in the nocturnal adventures – although they did indeed nothing more than the personal stories of the poets, of the anonymous youth of experience a bit of that – the House of Habsburg youngsters gave themselves over the Manzanares, somewhat elegantly attired.
Load more

Recommended publications
  • Proceedings of the Musical Association Spanish Music
    This article was downloaded by: [New York University] On: 05 February 2015, At: 03:19 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Proceedings of the Musical Association Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ rrma18 Spanish Music Henry Cart De Lafontaine Published online: 28 Jan 2009. To cite this article: Henry Cart De Lafontaine (1906) Spanish Music, Proceedings of the Musical Association, 33:1, 27-43, DOI: 10.1093/ jrma/33.1.27 To link to this article: http://dx.doi.org/10.1093/jrma/33.1.27 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes.
    [Show full text]
  • Memoria 09-10
    Memoria 09-10 Índice Programación de Navidad 09,10 Grupo de teatro permanente de la Fundación Cerezales Antonino y Cinia. Teatro Amateur. Teatro Roblano “Harmonia” ¡Que viene mi marido! III Exposición: “Entorno Camín” Joaquín Rubio Camín Programación de Semana Santa. Teatro “Enamorado de la muerte”. IV Exposición: “En los límites de las sombras”. Bernardo Alonso Villarejo V Exposición: “Peso y Materia”. Richard Serra obra gráfica. Encerezados. Programa de actividades verano 2010. Otoño- Invierno 2010 Concierto de Flamenco. VI Exposición “Paisaje Múltiple. Latinoamérica en la colección Musac”. Semana de la Ciencia 2010. Música en Navidad 10-11` Filandones: Vidas contadas, Vidas Vividas. Cartelería. Notas y Convocatorias de prensa Música en Navidad 09,10`. Segunda edición del ciclo música clásica en Navidad En estas Navidades presentamos un ciclo de música integrado por cuatro conciertos diversos y variados, a la par que didácticos, cumpliendo así uno de los objetivos de nuestra Fundación. Orfeón Leonés. Viernes, 18 de diciembre de 2009_20.30h La primera actuación de esta agrupación aparece en un programa de fiestas en la ciudad de León de 1892, denominadas por aquel entonces de “San Miguel” en la que ya aparece esta coral con el nombre de “Orfeón Leonés”, dirigida por el Maestro Areal. Su actual configuración se establece en 1927 bajo la batuta de D. Joaquín Manceñido. En el año 1933 se hizo cargo del Orfeón Leonés el Maestro Odón Alonso González, quien orientó la trayectoria musical del Orfeón hasta su fallecimiento en 1977. En febrero de 1981, asumió la dirección Mª José Flecha Pérez, su actual directora. El Orfeón Leonés, en su dilatada vida musical, ha cultivado con éxito el género de la zarzuela e igualmente ha realizado numerosos conciertos con la antigua Orquesta de Cámara de León, interpretando obras como el Mesías de Haendel o la Pasión según San Mateo de Bach.
    [Show full text]
  • Download Booklet
    THE GUERRA MANUSCRIPT Volume 4 17th Century Secular Spanish Vocal Music Hernández • Fernández-Rueda • Arias Fernández Ars Atlántica • Manuel Vilas, Harp and Director The Guerra Manuscript, Vol. 4 The Guerra Manuscript, Volume 4 17th Century Secular Spanish Vocal Music 1 Anon: Qué dulcemente canta 3:19 2 Juan Hidalgo (1614-1685): ¿Qué quiere Amor? 2:43 This fourth volume in the complete recording of the Orléans (first wife of the Spanish king Charles II) to 3 Anon: Hermosa tortolilla 3:40 vocal works found in the Guerra Manuscript contains a Madrid. He then visited Italy in 1680-81, probably as 4 Anon: Poco sabe de Filis 3:04 further twenty pieces of music. This manuscript is, in part of his duties as a member of the queen’s staff. On 5 Juan Hidalgo: Con la pasión amorosa 2:59 my opinion, the leading source of tonos humanos to his death, Guerra bequeathed his library to his son, Juan 6 José Marín (c.1619-1699): Filis, el miedo ha de ser 5:09 have survived to the present day and a document of Alfonso de Guerra, who also inherited many of his titles fundamental importance in the history of Spanish music. and privileges. An inventory of this library, dated 1738, 7 Juan Hidalgo: ¡Ay que sí, ay que no! 4:50 Broadly speaking, tonos humanos are secular songs, has survived and includes the books that Juan Alfonso 8 Anon: Si descubro mi dolor 4:00 some of which are drawn from seventeenth- and was left by his father. The collection was sold to the 9 Anon: Culpas son Nise hermosa 3:44 eighteenth-century Spanish theatrical works.
    [Show full text]
  • CD DPS1 Compact Disc Booklet
    CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos. SIGCD006 SIGCD007 SIGCD008 SIGCD009 Music for Philip of Spain Two upon a ground: Jupiter The Fitzwilliam Virginal Book and his four wives Duets and Divisions for two viols SIGCD018 SIGCD020 SIGCD026 Sacred Songs of Sorrow The Queen’s Goodnight Music for Gainsborough SIGCD032 SIGCD041 SIGCD042 SIGCD049 The Sultan and the Phoenix Modus Phantasticus Tallis 9 Harmonia Caelestis www.signumrecords.com www.charivari.co.uk Available through most record stores and at www.signumrecords.com. For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos. ESPERAR SENTIR MORIR Instrumentarium Songs and dances from the Hispanic Baroque Susanne Heinrich a treble viol (M.D. Attwood, 1993) after Henry Jaye (mid 17C) b bass viol (M.D. Attwood, 1999) after anon. 17C English original Kah-Ming Ng c chamber organ (V.Woodstock, 1996) d harpsichord (A. Garlick, 1977) after I. Ruckers 1638 1. Juan Hidalgo (c.1612–1685) / arr. K-M Ng Esperar, sentir, morir [b, c, e] [4.31] Constance Allanic e triple harp (C.H. Hüttel, 2002) after 17C Italian iconography 2. Kah-Ming Ng & Clara Sanabras Quiero, y no saben que quiero [b, e, h] [9.06] Richard Sweeney f 16-course theorbo (K. Jacobsen, 2002) after various 17C Italian models 3. Lucas Ruiz de Ribayaz (b. 1626) Españoletas [e] [4.58] g 6-course lute (A.
    [Show full text]
  • Avance CNDM 20 21 2.Pdf
    cndm.mcu.es DE DIFUSIÓN MUSICAL CENTRO NACIONAL XI ÍNDICE 4. INTRODUCCIÓN 6 . COMPOSITOR Y ARTISTA RESIDENTES 12. CICLOS TRANSVERSALES 20. UNIVERSO BARROCO 52. SERIES 20/21 68. FRONTERAS 82. LICEO DE CÁMARA XXI 102. ANDALUCÍA FLAMENCA 112. JAZZ EN EL AUDITORIO 124. XXVII CICLO DE LIED 136. CICLOS DE ÓRGANO 154. BEETHOVEN ACTUAL 159. BEETHOVEN POR LISZT 164. MÚSICAS HISTÓRICAS DE LEÓN 176. CIRCUITOS 300. EDUCACIÓN 322. CALENDARIO DE CONCIERTOS 332. ENCARGOS Y ESTRENOS DEL CNDM Con paso fi rme cucharemos un total de 17 obras, entre ellas, 4 estrenos absolutos (tres Francisco Lorenzo de música de cámara y una obra sinfónica). Por su parte, el barítono aus- triaco Florian Boesch recorrerá como artista residente del Ciclo de Lied, en tres recitales, algunas de las páginas más representativas del género, como el famoso Viaje de invierno, de Franz Schubert. Uno de los ciclos transversales, #CortedeDresde, nos transportará a esta ciudad alemana, residencia de la Corte sajona, que, durante el Celebramos el comienzo de esta nueva temporada 2020-2021, según las esplendor barroco e infl uida por sus estrechos lazos con Italia, desplegó nuevas y cambiantes circunstancias, con el propósito y la responsabili- una prodigiosa actividad musical, protagonizada por compositores como dad de sostener el tejido musical del país e ir al reencuentro con nuestro Pisendel, Zelenka, Heinichen, Hasse o Weiss, cuya producción escucha- querido público. Así, a partir de septiembre, llenaremos de música cada remos en diversos escenarios. rincón con uno de los rituales más innatos al ser humano: el de la expe- El clavecinista y organista Benjamin Alard abordará la obra para te- riencia musical compartida en vivo.
    [Show full text]
  • Tonos Humanos Del Cancionero De Mallorca Y Otros Manuscritos
    Tonos Humanos del Cancionero de Mallorca y otros manuscritos ARMONIOSI CONCERTI JUAN CARLOS RIVERA, director MARIVÍ BLASCO, soprano Portada/Cover: Muchacha con flores. Bartolomé Esteban Murillo (1617-1682). Dulwich Picture Gallery, Londres. DICEN QUE HAY AMOR Tonos Humanos del Cancionero de Mallorca y otros manuscritos 1 Perdone el amor 02’40’’ 10 Si quieres que viva 01’53’’ Juan Hidalgo, 1614-1685 Anónimo 2 La borrachita de amor 05’32’’ 11 Niña si encontrares durmiendo a Cupido 06’00’’ Sebastián Durón, 1660-1716 Anónimo 3 Al poderoso ruego 03’25’’ 12 En pira de incendios 04’09’’ Juan Hidalgo Anónimo 4 Ya no son más de veinte 03’53’’ 13 La noche tenebrosa 05’22’’ Juan de Celis Juan Hidalgo 5 A un infeliz ausente 05’11’’ 14 Sepan todos que muero 03’19’’ Anónimo José Marín 6 Al ayre se entregue 03’47’’ 15 Recelos, temed 06’05’’ Juan Hidalgo Francisco Monjo 7 Dicen que hay amor 02’45’’ 16 Ay amor, ay ausencia 05’23’’ Anónimo Juan Hidalgo 8 Déjame, picarillo traidor 02’51’’ 17 Tortolilla si no es por amor 03’45’’ Anónimo José Marín 9 Ojos, pues me desdeñáis 04’08’’ José Marín, 1618-1699 Duración total: 71’23’’ MARIVÍ BLASCO, soprano ARMONIOSI CONCERTI JUAN CARLOS RIVERA, director JUAN CARLOS RIVERA, guitarra de cinco órdenes (Julio Castaños, Málaga 2006) JUAN MIGUEL NIETO, guitarra de cinco órdenes (Julio Castaños, Málaga 2003) y guitarra de cuatro órdenes (Julio Castaños, Málaga 2007) CONSUELO NAVAS, tiorba (Francisco Hervás, Granada 2002) SARA RUIZ, viola da gamba (anónima ca. 1700) TERESA MARTÍNEZ, castañuelas (José Vela, Sevilla 2015) Las piezas de este CD ha sido extraidas de: - Cancionero Poético-Musical de Mallorca (CPMM), M.
    [Show full text]
  • De La Fiera, El Rayo, La Piedra
    ANUARIO MUSICAL, N.º 73 enero-diciembre 2018, 103-122 ISSN: 0211-3538 doi:10.3989/anuariomusical.2018.73.07 VARIA FORTUNA DE UN TONO DE COMEDIANTES: «AMA AL QUE AMA, ANAJARTE», DE LA FIERA, EL RAYO, LA PIEDRA DISPARATE FORTUNES OF A ‘TONO DE COMEDIANTES’: “AMA AL QUE AMA, ANAJARTE”, FROM LA FIERA, EL RAYO, LA PIEDRA Carmelo Caballero Fernández-Rufete Universidad de Valladolid [email protected] ORCID iD: https://orcid.org/0000-0002-0152-6042 Resumen Abstract La única fuente musical conocida hasta la fecha pertene- The only musical source known to date of the Calderonian ciente al drama mitológico calderoniano La fi era, el rayo, la piedra mythological drama La fi era, el rayo, la piedra corresponds to the corresponde a la intervención “Ama al que ama, Anajarte”, can- intervention “Ama al que ama, Anajarte”, sung by Anteros at the tada por Anteros en el momento en que el dios se presenta ante la moment when the god appears before the disdainful queen of Tri- desdeñosa reina de Trinacria, al fi nal de la segunda jornada. Aunque nacria, at the end of the second act. Although the musical source is la fuente musical no está exenta de problemas, su localización y not without problems, its location and edition force us to consider edición nos obliga a plantearnos el papel que La fi era... jugó en la the role that La fi era... played in the interaction between drama and interacción entre drama y música en la escena española durante la music in the Spanish scene during the middle decade of the 17-th década central del siglo XVII.
    [Show full text]
  • Spanish Classics
    570458bk Duron:570034bk Hasse 16/7/07 9:39 PM Page 8 Raquel Andueza Nacida en Pamplona, inicia su desarrollo musical a los seis años en la escolanía Niños Cantores de Navarra. A la edad SPANISH CLASSICS de ocho comienza sus estudios de solfeo y violín, y a los catorce los de canto, todos ellos en el Conservatorio Superior de Música Pablo Sarasate de Pamplona. Becada por el Gobierno de Navarra y el Ayuntamiento de Londres, amplía estudios en la Guildhall School of Music and Drama de Londres, donde en al año 2000 obtiene el Bachelor of Music con mención honorífica y recibe el premio School Singing Prize, en reconocimiento a su trayectoria académica. Acude a clases magistrales de Emma Kirkby, Graham Johnson, David Mason, Nancy Argenta, Sarah Walker, etc. En la Sebastián actualidad, recibe clases del maestro Richard Levitt. Colabora asiduamente con diversas formaciones: El Concierto Español, Orquesta Barroca de Sevilla, Lyra Baroque Orchestra of Minneapolis, Al Ayre Español, Vaghi Concenti, Academia de Música Antigua de la Universidad de Salamanca, More Hispano, Armoniosi Concerti, Los Músicos del DURÓN Buen Retiro, etc. Miembro fundador del quinteto vocal La Trulla de Bozes, donde permanece hasta 2003, obtiene con ellos en 2000 el primer premio en el XXXVII Festival Van Vlaanderen de Brujas (Bélgica), así como en la Young Artists’ (1660–1716) Presentation del Festival Internacional de Música de Amberes. Asimismo pertenece al conjunto vocal e instrumental Los Mvsicos de Sv Alteza, con los que mantiene una intensa labor concertística. Desde 2003 es miembro del cuarteto vocal La Colombina; en ese mismo año funda junto al tiorbista Jesús Fernández un dúo especializado en música italiana Tonadas (Songs) del siglo XVII y desde 2004 canta con el grupo Orphénica Lyra, dirigido por José Miguel Moreno.
    [Show full text]
  • The Kingdoms of Castile EMH Wishes to Thank the Lutheran Church of Honolulu for Hosting This Concert
    Season Sponsors We are most grateful to major sponsors of this fi rst full concert series: Anonymous, Jeannette and Ian Capps, Katherine and Carl Crosier, Dr. Lynne Johnson, Joseph McAlister and Herbert Sato, the Department of Arts and Humanities, Hawai‘i Pacifi c University, and a donor on behalf of Hawaii Public Radio’s The Early Muse. Donors for El Mundo We are also grateful for donations for this concert from Marilyn and Carl Bernhardt, Dan Binkley, Dr. Miguel Àngel Felipe, Robert Filgate, and Jean and Harvey Singer in honor of Anne Doyle Ph.D. Volunteers Early Music Hawaii We thank the music-lovers who have volunteered to help make this evening run smoothly: Sandra Edwards, John and Anne Flanigan, Greg and Johanna Goya, Don presents Graber and Vreni Griffi th. Lutheran Church of Honolulu The Kingdoms of Castile EMH wishes to thank the Lutheran Church of Honolulu for hosting this concert. The Church resonates with the exceptional acoustics, intimate ambience and warm Spanish, Italian and Latin American aloha which suit the Renaissance and Baroque repertory so well. music of the 17th and 18th Centuries Early Music Hawaii Early Music Hawaii is a nonprofi t organization established in 2005 to promote the El Mundo performance and enjoyment of Medieval, Renaissance and Baroque in our islands and to explore historical performance practices. We seek to encourage performers , director & baroque guitar and audiences By presenting and publicizing concerts and workshops in Hawaii and Richard Savino to provide a forum for groups and individuals interested in early music. Jennifer Ellis-Kampani & Nell Snaidas, sopranos Adam LaMotte & Lisa Grodin, violins Please consider helping us to achieve these objectives with an online donation at www.earlymusichawaii.com or By check to PO Box 632, Kailua-Kona, HI 96745.
    [Show full text]
  • Cndm.Mcu.Es DE DIFUSIÓN MUSICAL CENTRO NACIONAL
    cndm.mcu.es DE DIFUSIÓN MUSICAL CENTRO NACIONAL XI ÍNDICE 4. INTRODUCCIÓN 6 . COMPOSITOR Y ARTISTA RESIDENTES 12. CICLOS TRANSVERSALES 20. UNIVERSO BARROCO 52. SERIES 20/21 68. FRONTERAS 82. LICEO DE CÁMARA XXI 102. ANDALUCÍA FLAMENCA 112. JAZZ EN EL AUDITORIO 124. XXVII CICLO DE LIED 136. CICLOS DE ÓRGANO 154. BEETHOVEN ACTUAL 159. BEETHOVEN POR LISZT 164. MÚSICAS HISTÓRICAS DE LEÓN 176. CIRCUITOS 300. EDUCACIÓN 322. CALENDARIO DE CONCIERTOS 332. ENCARGOS Y ESTRENOS DEL CNDM Con paso fi rme cucharemos un total de 17 obras, entre ellas, 4 estrenos absolutos (tres Francisco Lorenzo de música de cámara y una obra sinfónica). Por su parte, el barítono aus- triaco Florian Boesch recorrerá como artista residente del Ciclo de Lied, en tres recitales, algunas de las páginas más representativas del género, como el famoso Viaje de invierno, de Franz Schubert. Uno de los ciclos transversales, #CortedeDresde, nos transportará a esta ciudad alemana, residencia de la Corte sajona, que, durante el Celebramos el comienzo de esta nueva temporada 2020-2021, según las esplendor barroco e infl uida por sus estrechos lazos con Italia, desplegó nuevas y cambiantes circunstancias, con el propósito y la responsabili- una prodigiosa actividad musical, protagonizada por compositores como dad de sostener el tejido musical del país e ir al reencuentro con nuestro Pisendel, Zelenka, Heinichen, Hasse o Weiss, cuya producción escucha- querido público. Así, a partir de septiembre, llenaremos de música cada remos en diversos escenarios. rincón con uno de los rituales más innatos al ser humano: el de la expe- El clavecinista y organista Benjamin Alard abordará la obra para te- riencia musical compartida en vivo.
    [Show full text]
  • Notas Para La Edición De La Zarzuela Los Cielos Premian Desdenes De Marcos De Lanuza, Conde De Clavijo, Y Compositor Anónimo*
    Notas para la edición de la zarzuela Los cielos premian desdenes de Marcos de Lanuza, Conde de Clavijo, y compositor anónimo* Notes for the zarzuela edition Los cielos premian desdenes by Marcos de Lanuza, Count of Clavijo, and anonymous composer LOLA JOSA Y MARIANO LAMBEA UNIVERSITAT DE BARCELONA / CSIC Resumen: Marcos de Lanuza, conde de Clavijo, es uno de los dramaturgos menos conocidos y que, sin embargo, con gran empeño trabajó para la excelencia artística del teatro musical de su época. De sus tres zarzuelas conocidas, y aún inéditas, hemos escogido Júpiter y Ío. Los cielos premian desdenes por ser la más sugerente en cuanto a las relaciones entre poesía dramática y música. La escribió por orden de Carlos II para las Carnestolendas del año 1699, y quiso tomar como pretexto de la trama las Metamorfosis (I) de Ovidio, pero adecuando el amor de los dioses a un desenlace moralizador que se recoge en el subtítulo y que, al mismo tiempo, deja al descubierto el homenaje a la zarzuela Los celos hacen estrellas que Vélez de Guevara representó en palacio en 1672. La partitura se conserva manuscrita y anónima, aunque nos atrevemos a barajar los nombres de Sebastián Durón, Juan de Navas y Antonio Literes como posibles compositores. Musicalmente, contiene los elementos propios del tono humano barroco, junto a las novedades estilísticas importadas de Italia, que configuran un discurso pautado por fragmentos a cuatro voces alternados con otros a solo (coplas y recitados), y con acompañamiento de violines, violas, flautas y clarines, y el pertinente bajo continuo. El objetivo de este breve artículo es dar a conocer esta zarzuela y sentar las bases de su edición crítica para Digital CSIC, el repositorio institucional del CSIC.
    [Show full text]
  • Tomás De Torrejón Y Velasco's La Púrpura De La Rosa in the Early History of Opera
    Tomás de Torrejón y Velasco's La Púrpura de la Rosa in the Early History of Opera Louise K. Stein HEARTNG A PERFORMANCE of the first New World it would be inaccurate to suggest that this part of the opera is to be reminded that the early history of world was unique in venturing so late into the oper­ opera beyond Italy was complicated. Even after atic endeavor. In the first years of the eighteenth cen­ Torrejón's La púrpura de la rosa, the court in Lima tury opera still was not performed in a number of commemorated important occasions with partly important European cities, and in places like Madrid musical plays more often than not, and opera was and London, where severa! kinds of musical theater the exception rather than the rule for most of the were offered, opera as fully sung drama was set eighteenth century. Far away in Madrid, the center aside, for a few years, in favor of other genres. of the Spanish empire, the royal court also heard It is difficult to say precisely why Torrejón and the operas only rarely until well into the eighteenth cen­ Count of Monclova decided to try fully sung opera, tury, although zarzuelas (with spoken dialogue) were but, given the occasion they sought to immortalize, performed regularly. Befare his departure for the their choice of genre makes sense within the sparse New World, Tomás de Torrejón y Velasco (1644- history of early Spanish opera. Opera was an ex­ 1728) had little experience of fully sung opera. Only traordinary genre chosen for extraordinarily im­ two operas are known to have been performed in portant circumstances.
    [Show full text]