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Adios Mi Amor - Duets For Vihuelas / Delitiae Musicae


Release Date: 02/28/2012 
Label:  Brilliant Classics   Catalog #: 94302   Spars Code: DDD 
Composer:  Joan Ambrosio DalzaJosquin Des PrézNicolas GombertFrancisco Guerrero,   ... 
Performer:  Jesús SánchezManuel Minguillón Nieto
Number of Discs: 1 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

Tracks:
• Si tus penas no pruebo
• Nin?o Dios d’amor herido
• Adios mi amor
• ‘Huyd, huyd, o c?iegos’, amadores
• Todos aman
• Gaillarde
• Romanesca
• Conte Clare
• O Magnum Mysterium
• Assiste parata
• Tastar de corde
• Caldibi castigliano
• Calata ala spagnola
• Calata ala spagnola ditto terzetti
• Mille regretz
• Mille regretz (II)
• Et in Spiritum Sanctum
• Fantasia de Lopez
• Diez diferencias de Folias
• Tiento
• Recercata
• Foli?as en primer tono
• Mu?sica para discantar sobre
• Un punto
• Sobre el teno


Read more /> Jesu?s Sa?nchez and Manuel Minguillon Nieto, vihuelas

• A fascinating evocation of a 16-th century Spanish court, where noblemen and women expressed their feeling in music of a wide range of emotions, from the deepest sadness (usually love-related.) to merry joyfulness.
• The vihuela is a predecessor of the guitar, with a deep sonority and expressive tone.
• The duets are written by famous composers of the time: Josquin, Victoria, Guerrero and others.
• “Renaissance easy-listening” of a high quality, soothing sounds of great beauty and comfort.
• Delitiae Musicae, the two players, have specialized in this reper- toire, and are performing it worldwide to great public success at Early Music Festivals.

Music performed on two vihuelas (guitar-like instruments from Spain) was commonplace during the Renaissance. Combining con- trasting instruments was not yet the fashion, so instruments of the same family with similar sonorities were often paired in polyphonic duets - one instrument provi- ding the harmonic support, the other giving the melody and embellishment.

To recreate these 16th century perfor- mance practices and draw attention to an important part of Spanish Renaissance music, Delitiae Musicae, a duo specialising in vihuela performance, have created a programme of original vihuela duets and their own arrangements of solo music.

In line with Renaissance performance practices, improvisation using ostinati is fea- tured in many of the pieces, and a number of intabulations (arrangements) of sacred works are included.

The programme features the major vihuela composers of the 16th century, along with Spain’s most important Renaissance composers, including Toma?s Luis de Victoria, Enri?quez de Valderra?bano, Guillaume de Morlaye, Francisco Guerrero and Josquin des Prez.The focus is on Spanish music or music that displays a Spanish influence, to, in the words of the performers,‘evoke the sound and image of two courtesan vihuelists performing in a 16th century palace’.

OTHER INFORMATION:
• Rare repertoire, with new arrangements and improvisations by Delitiae Musicae
• Booklet notes
• Recording made in 2010

R E V I E W:

3614200.zz3_ADIOS_MI_AMOR_Duets.html

ADIOS MI AMOR: Duets for Vihuelas Delitiae Musicae BRILLIANT 94302 (63: 32)


Selections by ANONYMOUS, GUERRERO, MORLAYE, MUDARRA, VICTORIA, GOMBERT, DALZA, JOSQUIN, NARVAÉZ, MORALES, LOPEZ, MENDOZA, VALDERRÁBANO


Credit where it’s due: Vihuelist Jesús Sánchez doesn’t hide the fact as so many early music groups do that these are modern arrangements, or that Delitiae Musicae has improvised selectively, according to rules of the period, turning several of the more complex, distinguished solo vihuela pieces into duets. This is prominent mainly in ostinato-based pieces such as Mudarra’s famous O Guardame las vacas , and harmonically static ones such as Valderrábano’s Música para discantar sobre un punto , where imitative textures invite alterations in a way that turns the result into variation form. It’s modestly and stylishly done on this album.


Just as sacred institutions of the day took from the secular to create contrafacta for religiously inspired performance, so secular entertainments borrowed from religious music. Intabulations of Valderrábano provide more intimate performances of Gombert’s Assiste parata and Morales’s Et in Spiritum Sanctum than a cathedral choir would understandably furnish, to which Sánchez and Manuel Minguillón Nieto (second vihuelist in these recordings) add works by Guerrero and Victoria. They include as well both an arrangement of Josquin’s beautifully expressive Mille regretz , and of the ornamented vihuela variations written by Narváez upon it, often called Le canción del Emperador.


It’s a program in varied musical character, with extensive differences in textures and tempos from piece to piece, though a reflective, melancholy quality pervades much of the music. Whether this was a cultural preference for the vihuela during its time of great popularity or a result of Delitaie Musicae’s program-building tastes, it deserves to be noted. The playing is first-rate, with even tone, absolute unity of purpose, impeccable phrasing, and solid technique in the face of the occasional flurry of ornamented notes. The engineering’s a bit plummy for my tastes, but not excessively so, and the close miking yields a harvest of overtones without any mechanical sounds. In short, recommended.


FANFARE: Barry Brenesal
Read less

Works on This Recording

1.
Intavolatura di Liuto 1508, fol. 6r: Tastar de Corde by Joan Ambrosio Dalza
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: 16th Century 
Written: Italy 
2.
Caldibi castigliano by Joan Ambrosio Dalza
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: Italy 
3.
Calata No. 3 "a la spagnola", for lute by Joan Ambrosio Dalza
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: circa 1500 
4.
Calata ala spagnola by Joan Ambrosio Dalza
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: by 1508; Italy 
5.
Mille regretz by Josquin Des Préz
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
6.
Assiste parata by Nicolas Gombert
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
7.
Si tus penas no pruevo by Francisco Guerrero
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: Spain 
8.
Niño Dios, d'amor herido by Francisco Guerrero
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: Spain 
9.
Huyd, huyd, o çiegos amadores by Francisco Guerrero
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: by 1589; Spain 
10.
Cançion "Todos aman" by Francisco Guerrero
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: 16th Century 
11.
Adiós mi amor, for ensemble by Francisco Guerrero
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
12.
Et in spiritum sanctum by Cristóbal de Morales
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
13.
Galliard by Thomas Morley
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: England 
14.
Conte Clare by Thomas Morley
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
15.
Tres libros de musica en cifras: Romanesca o Guardame las vacas by Alonso de Mudarra
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: by 1546; Spain 
16.
Mille regretz "La Canción del Emperador" by Luis de Narváez
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: by 1538; Spain 
17.
Discantar sobre un punto by Enríquez de Valderrábano
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: 16th Century; Spain 
18.
Contrapunto sobre el tenor del "Conde Claros" by Enríquez de Valderrábano
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: by 1547; Spain 
19.
O magnum mysterium: Excerpt(s) by Tomás Luis de Victoria
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
20.
Tiento by Anonymous
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
21.
Recercada by Anonymous
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
Period: Renaissance 
Written: 15th Century; Spain 
22.
Folias en primer tono by Anonymous
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)
23.
Diferencias de caravanda by Anonymous
Performer:  Jesús Sánchez (Vihuela), Manuel Minguillón Nieto (Vihuela)

Sound Samples

Si tus penas no pruebo (arr. M. Nieto and J. Sanchez)
Nino Dios d'amor herido (arr. M. Nieto and J. Sanchez)
Adios mi amor (arr. M. Nieto and J. Sanchez)
Huyd, huyd (arr. M. Nieto and J. Sanchez)
Todos aman (arr. M. Nieto and J. Sanchez)
Pavane and Galliarde (arr. M. Nieto and J. Sanchez): Pavane and Galliarde: Gaillarde (arr. M. Nieto and J. Sanchez)
Romanesca (arr. M. Nieto and J. Sanchez)
Conte Clare (arr. M. Nieto and J. Sanchez)
O Magnum Mysterium (arr. M. Nieto and J. Sanchez)
Assiste parata (arr. M. Nieto and J. Sanchez)
Tastar de corde (arr. J. Sanchez)
Intabolatura de lauto, Book 4 (arr. M. Nieto and J. Sanchez): Intabolatura de lauto, Book 4: Caldibi castigliano (arr. M. Nieto and J. Sanchez)
Intabolatura de lauto, Book 4 (arr. M. Nieto): Intabolatura de lauto, Book 4: Calata ala spagnola (arr. M. Nieto)
Intabolatura de lauto, Book 4 (arr. M. Nieto and J. Sanchez): Intabolatura de lauto, Book 4: Calata ala spagnola ditto terzetti (arr. M. Nieto and J. Sanchez)
Mille regretz (arr. M. Nieto and J. Sanchez)
Mille regretz (arr. M. Nieto)
Et in Spiritum Sanctum (arr. M. Nieto and J. Sanchez)
Fantasia de Lopez (arr. M. Nieto)
Diez diferencias de folias (arr. M. Nieto and J. Sanchez)
Tiento [Ms. Barabarino, Napoles, 16th Century] (arr. M. Nieto and J. Sanchez)
Recercata [Ms. Barabarino, Napoles, 16th Century] (arr. M. Nieto and J. Sanchez)
Folias en primer tono [Ms. Barabarino, Napoles, 16th Century] (arr. M. Nieto and J. Sanchez)
Music para discanter sobre un punto (arr. M. Nieto and J. Sanchez)
Sobre el tenor del conde claros (arr. M. Nieto and J. Sanchez)
Diferencias de caravanda [Ms. Barabarino, Napoles, 16th Century] (arr. M. Nieto and J. Sanchez): Diferencias de caravanda [16th Century] (arr. M. Nieto and J. Sanchez)

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