59.00 PLN

CD:

Nr kat.: LAU001
Label  : LAUDA (Spain)

LAUDA - uhonorowana za nadzwyczajne technicznie i wybitne artystycznie nagrania tytułem - LABEL 2007 Wszystkie płyty w pięknych digipackach, a te - w specjalnym etui. Bogata i obszerna książeczka ze wszystkimi tekstami wykonywanych utworów. Niewielkie, wręcz mikroskopijne iberyjskie wydawnictwo płytowe – Lauda – zaczęło wydawać swoje albumy w 2005 r. i ma w dorobku zaledwie 7 płyt, z których pięć mam przed sobą. Może to właśnie ze względu na rozmiary wydawnictwa ich płyty dotarły do nas dopiero teraz. Bardzo interesująco prezentuje się nagranie dzieł sakralnych a cappella (Lauda LAU 004), które skomponował José de Nebra (1702-1768). Kompozytor ten znany jest głównie dzięki zarzuelom, arie z których przypomniała niedawno Harmonia Mundi. Interpretacja zespołów La Grande Chapelle i Schola Antiqua jest bardzo dobra, oddaje w całej krasie piękno tych dzieł, które pozwalają zrozumieć, dlaczego Nebra za życia był ceniony głównie ze względu na swoją twórczość sakralną. Na płycie zarejestrowano odtworzone Nieszpory, w których części a cappella są porozdzielane sporą porcją muzyki organowej. To naprawdę piękna muzyka. Ciekawym jest pierwszy album wytwórni Lauda – Entre aventuras y encantamienteos – Música para don Quijote (LAU 001). Nagranie składa się z dwóch części: muzyki związanej z czasami Don Kichota napisanej przed rokiem 1600, oraz z dzieł, jakich słuchali Alonso Quijano i Cervantes, pochodzących z początków XVII w., w tym bardzo interesujące poematy autorstwa Cervantesa. Na płycie znajdują się również utwory instrumentalne. La Grand Chapelle, którą dyryguje Angel Recasens znakomicie odtworzyła atmosferę tej hiszpańskiej muzyki przełomu XVI i XVII w. Album El Gran Burlador – Música para el mito de Don Juan (LAU 006) przypomina inną postać mityczną, Don Juana. Powstała by upamiętnić 250 rocznicę urodzin Mozarta, oraz by oddać hołd Tirso de Molinie, którego arcydzieło El burlador de Sevilla y convidado de piedra dało światu legendę Don Juana i zainspirowało Lorenza Da Ponte i Mozarta, by stworzyć znakomitego Don Giovanniego. Grupa hiszpańskich znawców literatury i muzykologów połączyła najważniejsze fragmenty sztuki z muzyką tamtych czasów. Wybrano dzieła takich kompozytorów hiszpańskiego baroku, jak Cristóbal Galán, Juan Hidalgo, Bernardo Murillo, Manuel Correa, Manuel de Egüés, a także dzieła anonimowe. Antonio Rodrígueza de Hita (1722-1787) to bohater kolejnego albumu wydawnictwa Lauda (LAU 005). Zawiera on jego dzieła instrumentalne zawarte w pochodzącym z 1751 r. zbiorze Escala diatónicochromático- enharmónica. Jest to jeden z niewielu istniejących XVIII-wiecznych zbiorów hiszpańskiej muzyki instrumentalnej o przeznaczeniu sakralnym. Wybrane do nagrania utwory są wyjątkowej urody. Siedmiu znakomitych artystów tworzących La Grande Chapelle po raz pierwszy nagrało te dzieła na instrumentach z epoki. Wraz ze znakomitym realizatorem dźwięku stworzyli piękny album, po który powinien sięgnąć każdy meloman. Ostatnim albumem, jaki otrzymałem to El vuelo de Icaro – Música para el eros barroco (LAU 003). Temat Ikara był wielokrotnie poruszany przez hiszpańskich poetów epoki baroku. Często do tych dzieł pisali muzykę tacy kompozytorzy, jak Manuel Correa, Bernardo Murillo, Sebastián Durón, Mateo Romero i Manuel Machado. Utwory te znajdują się w dwóch zbiorach: pochodzącym z 1656 r. manuskrypcie Libro de Tonos Humanos znajdującym się w Bibliotece Narodowej w Madrycie oraz w pochodzącym z początków XVII w. Cancionero Poético-Musical Hispánico de Lisboa, jaki znajduje się w Biblioteca de Ajuda w Lizbonie. Utwory zostały ułożone w części odzwierciedlającej podróż Ikara: Skrzydła z wosku, Ikar, Słońce, Lot, Upadek. Wspólnym mianownikiem tych nagrań jest zespół La Grand Chapelle pod dyrekcją Angela Recasensa. Ich wykonanie jest najwyższej próby, zastosowanie instrumentów z epoki jest ogromnym atutem ich interpretacji. Pozwala to słuchaczowi, choć trochę poczuć się jak za dawnych czasów. Te realizacje przywodzą mi na myśl dokonania innej znanej firmy krzewiącej muzykę hiszpańską – Alia Vox. Odnoszę wrażenie, że realizacje Laudy są mniej komercyjne, natomiast bardziej autentyczne. Mam nadzieję, że kolejne ich produkcje będą równie interesujące i będą stały na równie wysokim poziomie. (cr) Muzyka21 Maj 2009 Many have been eagerly awaiting the recording of the instrumental songs from Antonio Rodríguez de Hita´s Escala diatónico-chromático-enharmónica (1751). With good reason, since this work is one of the rare extant examples of eighteenth-century Spanish instrumental music intended for religious use. Antonio Rodríguez de Hita (1722-1787) is one of the most important figures of Spanish music of the second half of the eighteenth century. As a youth, he was the maestro de capilla and organist at the Alcalá de Henares collegiate church, and in 1744, he was appointed maestro at the cathedral of Palencia, where he remained for more than twenty years. From 1765 until his death in 1787, Rodriguez de Hita occupied the same position at the Real Monasterio de la Encarnación in Madrid, then one of Spain´s most prestigious royal institutions. Together with the playwright Ramón de la Cruz, he led the revival of the zarzuela during the second half of the eighteenth century, with works such as Las segadoras de Vallecas (1768) and Las labradoras de Murcia (1769), which served as models of the comic costumbrista genre, clearly indebted to the opera buffa, in the following decades. Nevertheless, the large majority of Rodríguez de Hita´s works - about 250 in all - were religious. The collection of instrumental works known as the Libro para las chirimías dates to his years in Palencia, and constitutes a cycle of short pieces organized according to key and mode, to be performed by five instrumental soloists - two oboes, alto and two horns - as well as the bass. Rodríguez de Hita wrote this repertory as music for religious celebrations and to fit the needs of the cathedral of Palencia. As indicated by the title and specified in the appendix, these songs were written for the processions, masses and instrumental interludes of the religious festivities of the cathedral of Palencia, and chiefly for its Corpus Christi celebrations. The program chosen for this recording is of an exceptional beauty and variety: just listen, for example, to the Canción 7ª - Despacio cantable or to the superb fugue in Canción 4ª en IV tono. The clarity and texture of the lines, owing to the fact that the music was written for a group of soloists, shines through this recording, as does the impeccable sound engineering - a common feature at Lauda - of Markus Heiland. The seven musicians, all of whom are soloists with the best period instruments orchestras, display their technical prowess and exquisite taste with carefully chosen tempos and dynamic. This first world recording with original instruments is also beautifully presented and comes with liner notes written by the greatest expert in the field. This recording has made it possible for a fascinating collection of instrumental works to finally claim its place, long overdue, and also pays tribute to one of the most daring and innovative musical talents of eighteenth-century Spain. -------------- Rodríguez de Hita, Canciones instrumentales (Instrumental Canciones) Christopher Price Goldberg Magazine, no. 44, February 2007, p.102. 4 Stars Goldberg "[…] the composer's bright and colourful ideas, lively rhythms and delightful melodies […] Their performances, meticulous, elegant and sweetly adorned […] prove to be very witty […]" Sense vergonya (Without Shame) Xavier Cester Avui. Cultura i Espectacles, 04/02/2007 "Another who shows no remorse in defending our heritage, in this case Spanish, is Àngel Recasens and his exemplary La Grande Chapelle". Canciones instrumentals (Instrumental Songs) Stefano Russomano ABC. ABCD de las Artes, 13/01/2007 "[...] The members of La Grande Chapelle demonstrate here an exquisite sound and a good command of technique". "Laudas" à música antiga espanhola ("Laudas" to early Spanish music) Cristina Fernandes Público. Mil Folhas. Música clásica, 29/12/2006, p. 22-23. "One of Lauda Musica's most important recordings. […] music of a very high quality that can give great pleasure to the listener, offered here in an excellent performance". This recording consists of a selection of music divided into two main sections. The first contains music familiar to Don Quixote: music composed prior to 1605 and set to verses from old ballads. As is widely known, Cervantes's character is an anachronistic knight who lives his literary fiction anchored in the past. For this reason, Cervantes included references to archaic music as a setting for certain passages of his novel, such as the romance "¿Dónde estás, señora mía?" (a ballad about the Marquis of Mantua), included in the present recording. The compositions "Al villano se la dan" and "Señora, después que os vi", which also predate the publication of Don Quixote, further reflect this traditional character. On the other hand, the recording also includes the music that Alonso Quijano and Cervantes himself listened to; that is to say, music dating from the early decades of the seventeenth century. This is a result of following Cervantes's storyline and carefully selecting those passages that allow music and verses of a varied nature to be included. Such inclusions have been taken from the musical-poetic songbooks of the period, such as the Cancionero de Turín, Romances y letras a tres voces, Cancionero Póetico-musical Hispánico de Lisboa, Cancionero de la Sablonara, Libro de Tonos Humanos and others featuring an excellent repertory of ballads set to music and texts intended for singing. Extremely interesting for the modern listener are Cervantes's own poems, which mark the discourse of Don Quixote and were never set to music: "Árboles, yerbas y plantas", "Sancho Panza es aqueste", "Suelen las fuerzas de amor", "Amor, cuando yo pienso" and "Yace aquí el hidalgo fuerte". The team of scholars made up of Dr. Lola Josa (Universidad de Barcelona, Department of Spanish Philology) and Dr. Mariano Lambea (CSIC, Department of Musicology) was responsible for their selection and adaptation using the technique of contrafactum. This technique is based on the old custom of the period, in which certain poems were systematically sung to the tune of well-known and popular songs. At the same time, other poems by Jorge Manrique, Garcilaso de la Vega, Lope de Vega and Luis de Góngora, with corresponding music, illustrate certain episodes from Cervantes's novel. Finally, this journey through Don Quixote also includes the instrumental repertory of the period (Tiento grande de 4º tono by Sebastián Aguilera de Heredia), and penetrates further into the sacred music of the period: Miserere mei, Domine by Mateo Romero and Super flumina Babylonis by Tomás Luis de Victoria, both of which contain direct references to the corresponding passage from Cervantes's masterpiece. ---------------------------------- Entre aventuras y encantamientos. Música para don Quijote (Amid Adventures and Enchantment - Music for Don Quixote) Juan José Pastor Comín (University of Castilla-La Mancha) Crítica Bibliographica, 07/01/2006 "[…] this meticulously-produced edition that well deserves to be highlighted as one of the most original and outstanding contributions we will have the pleasure to see. […] an exceptional selection and recreation. […] For this difficult contracanto, the authors have used their vast knowledge and experience of the Spanish musical heritage of the 'Golden Centuries', in which they find themselves very much at home. […] Àngel Recasens, who, with La Grande Chapelle under his baton, has managed to translate and bring to our ears this enthralling polyphonic combination - both in text and sound. […] an excellent performance, both in terms of pitch, […] as well as in melody, underlined by the notable independence of the voices. […] In summary, one of the best achievements in the maremagnum of celebrations that, far from limiting itself to the customary archaeological reconstructions, takes the risk of venturing along the path of creation and recreation, thus recovering the spirit and the purest style of our golden-age writers and composers. What a pity such valuable pearls are such a rare phenomenon". "Laudas" à música antiga espanhola ("Laudas" to early Spanish music) Cristina Fernandes Público. Mil Folhas. Música clásica, 29/12/2006, p. 22-23. "[…] a new label based on musicological rigour, thematic programmes, and the dissemination of unknown repertoires". […] an appropriate model for the organised transfer of musicological research for musical life and management, and cultural dissemination. […] Far from being for specialists (despite the attention paid to some of the details of historical reconstruction) they are equally attractive to the normal music lover". […] offer an appealing performance provided with a certain expressive assertion, when compared to the more exuberant projects of Savall or José Miguel Moreno". Una banda sonora para El Quijote (A soundtrack for Don Quixote) Pablo J. Vayón Scherzo, no. 199, July 2005, p. 66. "The year commemorating the fourth centenary of the publication of part one of Don Quixote couldn't go by without the release of recordings aiming to capture the sound world in which Cervantes worked and presumedly provided the setting for the novel's characters. […] These recordings approach Cervantes's masterpiece from different angles and can be seen as complementary. Ángel Recasens seeks a full implication with the literalness of the novel, to the extent that he resorts to contrafactum to set some of its poems to music, unloading much of the weight of the performance on the polyphony of the voices. On the other hand, José Miguel Moreno offers a much more general view. Moreno's is almost a report on the atmosphere surrounding the writer and his characters, and his recreations constantly seesaw between purely instrumental dances and songs for solo voices with accompaniment. Recently formed from what was formerly the Capilla Príncipe de Viana ensemble, La Grande Chapelle appear to be a solid group with wide appeal, as Ángel Recasens has successfully recruited many of the leading figures in European early music. Singers like Cécile Kempenaers, Hervé May and Lieven Termont and instrumentalists including the flautists Bart Coen and Peter de Clercq, the gambist Piet Stryckers, the lutenist Philippe Malfeyt and the harpist Hannelore Devaere regularly perform with some of the most important European ensembles specialising in Renaissance and early-Baroque music (Capilla Flamenca, Ensemble Romanesca, Huelgas Ensemble…). The first part of the Recasens recording consists of themes from the Romancero (collection of Spanish ballads), with anonymous music taken from the Cancionero de Turín and the Libro de tonos humanos held at the Biblioteca Nacional. This section also includes Nunca mucho costó poco by Carlos Patiño and Al tronco de un verde mirto by Fray Gerónimo. La Grande Chapelle performs colourful versions of these pieces, with very lively rhythms and a rich combination of instrumental and vocal timbres. A Tiento de cuarto tono by Sebastián Aguilera Heredia, transcribed for instrumental ensemble, serves as the centrepiece of the recording. A more austere tone colour marks the second part, with the inclusion of two sacred works (an incomplete Miserere by Mateo Romero and Victoria's Super flumina Babylonis) and the use of contrafactum referred to above. This technique is used for as many as five poems taken from Don Quixote which had never been interpreted musically (Árboles, yerbas y plantas, Sancho Panza es aqueste, Suelen las fuerzas de amor, Amor cuando yo pienso and Yace aquí el hidalgo fuerte), set to music by Romero, Chacón, Joan Pau Pujol and an anonymous composer. The performance of this second part of the CD is, as I said, more austere, with a cappella versions of Romero's Miserere and ¡Oh, más dura que mármol a mis quejas! by Pedro Guerrero, set to Garcilaso's famous poem. Very refined phrasing and exquisite care with the prosody (the pronunciation of Recasens's singers, none of whom are Spanish, is admirable) top off what is a very interesting recording for the unusualness of the repertory and its well-contrasted and elegant performances. […] As I said, two complementary recordings, which could magnificently serve as the soundtrack to accompany the adventures of the most famous literary character of all time". Glosas y canciones para el caballero de la triste figura (Glosas and songs for the knight of the sad countenance) Pablo J. Vayón Diario de Sevilla, 21/05/2005 "[…] To this effect, musically speaking, this year, the year of Cervantes, attention has been focused on discovering, analysing and performing music inspired by Don Quixote from the seventeenth century itself to the present. By contrast, both the recordings reviewed today strive to recreate the musical environment in which the novel was conceived. While José Miguel Moreno's Orphénica Lyra restrict their recording to a presentation of assorted ballads, songs and dances from Cervantes's time, music which the Madrilenian writer was quite possibly familiar with, Ángel Recasens goes even further, by presenting various texts taken from Don Quixote hat have been set to pre-existing melodies, in accordance with the contrafactum technique, which was commonly used during the period. Entre aventuras y encantamientos is thus a unique contribution to sixteenth- and seventeenth-century Spanish music. Recasens has successfully brought together an extremely interesting group of European singers and musicians to form La Grande Chapelle, including the soprano Cécile Kempenaers, the tenor Hervé Lamy, the baritone Lieven Termont, the flautist Bart Coen and the harpist Hannelore Devaere. Their renditions of various anonymous ballads and music -sacred and secular- by Victoria, Mateo Romero, Carlos Patiño, Pedro Guerrero and Joan Pau Pujol reflect admirable refinement and delicacy. The weight of these versions rests on the voices and instead of concealing the polyphonic texture of the works, it is even emphasised with the performance of some a cappella pieces. […] Two recordings that just may serve to confirm the phrase spoken by the knight from La Mancha: 'Where there's music, there can't be mischief".