Music in the time of Velázquez

Record and Artist Details

Composer or Director: Bartolemé de Selma y Salaverde, Gaspar Sanz, Lucas Ruiz de Ribayaz, José Marín, Sebastián Durón, Juan Hidalgo, Antonio Martín y Coll, Francisco Guerau

Label: Glossa

Media Format: CD or Download

Mastering:

DDD

Catalogue Number: GCD920201

Tracks:

Composition Artist Credit
Susanna passeggiata Romanesca
Bartolemé de Selma y Salaverde Composer
Instrucción de música sobre la guitarra espan Gaspar Sanz Composer
Romanesca
Luz y norte musical para caminar Romanesca
Lucas Ruiz de Ribayaz Composer
Ojos, que me desdenais José Marín Composer
Romanesca
Salir el Amor del Mundo Romanesca
Sebastián Durón Composer
Los celos hacen estrellas Romanesca
Juan Hidalgo Composer
Primo libro de canzoni, fantasie and correnti da s Bartolemé de Selma y Salaverde Composer
Romanesca
Cuydado pastor Juan Hidalgo Composer
Romanesca
(El) templo de Palas Romanesca
Juan Hidalgo Composer
Flores de música Romanesca
Antonio Martín y Coll Composer
Ay, que me río de Amor Juan Hidalgo Composer
Romanesca
Poema harmónico Romanesca
Francisco Guerau Composer
Song Collection José Marín Composer
Romanesca
Instrucción de música sobre la guitarra espan Gaspar Sanz Composer
Romanesca
(La) Estatua de Prometeo Juan Hidalgo Composer
Romanesca
Instrucción de música sobre la guitarra espan Gaspar Sanz Composer
Romanesca
Song Collection Romanesca
José Marín Composer
Flores de música Antonio Martín y Coll Composer
Romanesca
Los celos hacen estrellas Romanesca
Juan Hidalgo Composer
La Romanesca is a recently formed Spanish group which bears witness to the extraordinary surge of interest in early music in Spain, as does the emergence of Glossa, the new early music label for which this disc was recorded. Spanish ensembles such as El aire espanol, La Colombina and now La Romanesca are quickly establishing themselves as mainstream international contenders in the specialist field of early music, and they have much to offer. The standard of performance is generally high and the interpretations are often highly distinctive, offering fresh insights into music which is itself rapidly becoming more familiar thanks to the many recordings of the past few years.
On this recording of Spanish instrumental and theatre music from the seventeenth century, both the instrumental playing and the solo singing are of a high order. Soprano Marta Almajano has a clear and well focused voice, that is both fuller and more nuanced with a wider range of expression than that of Montserrat Figueras; the singing is also less idiosyncratic but equally idiomatic. Almajano is at her most expressive, perhaps, in Jose Marin's Ojos, que me desdenais, and is scintillatingly alive to the drama of some of the other pieces by Juan Hidalgo, the Spanish equivalent of Purcell. In some items (for example, Hidalgo's Peynandose estaba un olmo) the balance between voice and instruments is rather odd, with the latter too prominent or, at least, with the voice sounding curiously distant by comparison. At other times (in Hidalgo's Cuydado, pastor) the balance seems better.
Both Jose Miguel Moreno on vihuela and baroque guitar and Paolo Pandolfo on gamba are technically assured and imaginative players, and lead the rest of the team (Nuria Llopis on harp and Juan Carlos de Mulder on theorbo) in performances that are full of rhythmic zest and imagination. The music itself is charming and dramatic by turn, and certainly bears repeated listening. It is generally less harmonically adventurous than Purcell (despite some telling chromaticisms in Marin's Aquella sierra nevada), but has a cogent harmonic idiom of its own and is full of rhythmic interest.'

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