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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. Rutherford, 2000) after Hans Gerle 4. Sebastián Durón (1660–1716) Corazón, causatenéis [b, c, e] [4.32] h 5-course guitar (K. Jacobsen, 1995) after anon. Venetian original 5. Francisco Escalada (fl. 17C) Canten dos jilguerillos [b, d, e] [2.18] Clara Sanabras i 5-course guitar (K. Jacobsen, 1998) after anon. Venetian original 6. Anonymous Solo, triste y ausente [b] [5.00] Rodrigo del Pozo j 4-course guitar (E. Fitzgibbon, 1996) 7. Anonymous Differenzias sobre la Gayta [b, c] [3.38] 8. Clemente Imaña (fl. 17C) Filis yo tengo [b, c, f] [3.32] 9. Anonymous ¡Ay, mi Dios! ¿Qué fuera de mí sin vos? [c, e, h] [3.59] 10. Anonymous, arr. K-M Ng Chacona [d] [2.24] Recorded in St Andrews Church, Toddington, Gloucestershire, 22–24 September 2004 This recording was made possible through the generous support of Abjad Ltd. 11. Juan Barter (c.1648–1706) ¡Hazo, Antón! [d, e, f] [8.29] Production, engineering and editing - Adrian Hunter and the Chilean Ministry for Foreign Affairs. 12. Anonymous San Juan de Lima [e, g, i, j] [6.43] Booklet notes - Kah-Ming Ng 13. Francisco de Santiago (1578–1644) Que se ausenta [b, c] [4.25] Artwork and design - Woven Design Charivari Agréable would like to thank Adrian Hunter (their tenacious producer) and David Bannister (production assistant or general factotum), who, in their 14. Francesc Valls (c.1671–1747) Gilguerillo que el ayre [a, c, e] [7.57] Booklet front cover - V&A Images / Victoria and Albert Museum enthusiasm, would not be dissuaded from introducing rhythmic clapping into the 15. Anonymous Tarambote para duas charamelinhas [e, g] [2.39] CD Inlay - The Dream of Life or El Sueño del Caballero by Antonio de Pereda canarios. Thanks, too, are due to Dr Glyn Redworth for his pruning of purple 16. Kah-Ming Ng Canarios [b, d, e, f, i, j] [4.30] (1611–1678), by kind permission of the Museo de la Real Academia de Bellas prose. We dedicate this CD to Sophia Maria & Haajar. Artes de San Fernando, Madrid Picture research - Kah-Ming Ng P 2005 The copyright in this recording is owned by Signum Records Ltd. Total Time [78.42] Photo credit - Susanne Heinrich & Kah-Ming Ng by Ian Baldwin C 2005 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Pitch - A=440Hz, keyboards tuned by Kah-Ming Ng in 1/4-and 1/6-comma Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact meantone temperaments Discs constitutes an infringement of copyright and will render the infringer liable to an action Translations - Clara Sanabras by law. Licences for public performances or broadcasting may be obtained from Phonographic www.signumrecords.com Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval www.charivari.co.uk system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording charivari agréable or otherwise, without prior permission from Signum Records Ltd. Directed by Kah-Ming Ng SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com www.charivari.co.uk - 19 - 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. Revelations from the Hispanic Baroque he Spanish Baroque, roughly spanning the reigns of Felipe (Philip) state of affairs was reported by a singer in the royal chapel Pedro III and V, is supposedly a musically fallow period. The logic is [Pietro] Cerone, one of a select number of Italians working in Spain. simple: the burnish of a Siglo de Oro must be followed by the He noted, in his treatise El melopeo y maestro (Naples, 1613) tarnish of a degenerate age. What goes up must come down. written in Castillian and dedicated to Philip III, that ‘very few Admittedly Spain suffered a collapse of imperial, military and noblemen took pleasure in learning about music … instead many economic might. The discovery of the New World in 1492 heralded banished it from their houses as something contemptible … the beginnings of world power, which was consolidated by a supply solely for clergymen and monks’. But it was the wholesale lack of of American bullion and various dynastic inheritances, not least publishing enterprise, however, which has resulted in musical when the ruler of Austria and the Netherlands, the future Holy degeneration, a perception not reversed until recently. The meagre Roman Emperor Karl V, became, as King Carlos I of Spain in 1516, pickings can be explained by any number of factors: inquisitorial the founder of the Habsburg dynasty which would rule until the censorship, the financially prohibitive cost of printing in Spain, the beginning of the 18th century. But by the mid-seventeenth century, absence of specialist music printers, and bureaucratic curbs on these stupendous legacies had been inexorably eroded by revolts in ‘luxuries’ by way of punitive taxes and draconian licensing laws, all clara sanabras rodrigo del pozo Catalonia and the wealthy Kingdom of Naples, the secession of designed to make Spain ‘leaner and fitter’, better able to resume Portugal, surrender in the Netherlands, conspiracy in Aragon, its imperial role. As singer and instrumentalist Clara Sanabras performs a wide Rodrigo del Pozo has performed with most of the leading groups insurrection in Andalusia, the financially debilitating Thirty Years repertoire for voice, lute and baroque guitar of the 15th to 18th specialising in the baroque repertoire, including Charivari War, recurrent plagues, treasury bankruptcies, debasement of With the exception of some sacred polyphony, nearly all vernacular centuries, both as a soloist and in collaboration with many Agréable, Concerto Palatino, L’Ensemble Baroque de Limoges, the coinage, corruption, and so on. To rub salt into the wounds, there songs, the so-called tonos humanos, and their sacred counterpart, prestigious international ensembles. Since gaining her diploma at Gabrieli Consort, Harp Consort, King’s Consort, Orchestra of the were the scathing observations of the ubiquitous English tourists, the villancicos, are preserved only in manuscript. Fate cruelly the Guildhall School of Music and Drama, she has performed with Age of Enlightenment, New York Collegium, Les Arts Florrisants, such as Francis Willughby, who travelled all over Spain in 1664. intervened, causing many a flimsy loose score and part to The Harp Consort, Dufay Collective, Palladian Ensemble, Purcell Apollo’s Fire, and Tafelmusik. Recent stage roles include Le Writing about his experience in 1673, he listed the various ills of disappear over time, with much of what did survive perishing in the the society, including such evils as ‘the tyrannical Inquisition’, ‘the fire at the Alcázar Palace of Madrid in 1734. It is therefore all the Quartet, Theatre of Voices, Charivari Agréable, and as a duo with bourgeois gentilhomme for the English Bach Festival, Pastore multitude of Whores’, and ‘the barrenness of the Soil’. Warming to more welcome that the last decade of hispanic musicology has the lutenist William Carter. Her versatility and dedication have also (Monteverdi’s L’Orfeo) with Tragicomedia, Arcetro (Peri’s Euridice) his theme, he could not resist taking sideswipes at ‘the wretched begun to unearth untold riches. We are now learning that things enabled her to work for theatre, film and TV: at the new at the Drottningholm Theatre, and Anacréon with Les Musiciens du laziness of the people, very like the Welsh and Irish’. did look up for Spain in the later part of the 17th century. The Shakespeare’s Globe Theatre with Two Noble Kinsmen; in the Louvre. Rodrigo has recorded for Auvidis-Astrée, DG, EMI, Harmonia peace with France plugged the drain on its economic and human filming of Peter Ackroyd’s historical series A Biography of London Mundi, Hyperion and Teldec, as well as BBC Radio 3 and televison Spain’s political masters may have been ineffectual, but her resources. Its population, and thus agrarian production, began its for BBC1; and featuring on soundtrack and screen in the movie and radio stations in America and Europe.
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    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.
  • De La Fiera, El Rayo, La Piedra

    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.