Author Topic: Cabezón, Arauxo, Cabanilles etc etc  (Read 10875 times)

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Online Mandryka

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #60 on: July 11, 2017, 07:40:10 AM »


http://discmedi.com/es/disco/7840/antonio-de-cabeznn/entre-lo-sagrado-y-lo-mundano-ignacio-ribas-talnons--orgue-nrgano

Ignacio Ribas Talens' style of music making is probably too careful, too scholarly, too stiff, too controlled. But it is not tough and aggressive, on the contrary, he makes the the music appear sweet and poetic. What's more, these Andorra organs are the bees knees for Cabezon because of the colours. For once it's clear that Cabezon really wrote obras de música para tecla arpa y vihuela. Registrations are very well chosen to offer enough contrast in the voices to make the polyphony clear, without making one voice dominate the rest.

It had me strapped to my seat.

Returning to this has me in complete agreement, apart from the suggestion that he's too scholarly, I don't know why I may have thought that before. This is a really revealing approach to Cabezon and a really attractive one. 
« Last Edit: July 11, 2017, 07:46:34 AM by Mandryka »
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Online Mandryka

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #61 on: July 28, 2017, 10:33:11 PM »


I'd say it's well worth hearing these Cabezon performances by Anne Landa, which are marked by a combination of seriousness, lyricism, introspection and tenderness. Not the slightest whiff of the Spanish Inquisition.  This is the sort of CD to hear late at night by candlelight . . .
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Online Mandryka

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #62 on: September 20, 2017, 01:03:10 PM »


Nadine Balbeisi and Fernando Marín play music by Cabezon, Henestrosa, Ortiz, D'Upsala and many others who I've never come across before. All I can say is that it is gentle, introspective, beautiful and it opens up a new perspective on what early modern Spanish music can sound like. Worth hearing this one, for sure.
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Online Mandryka

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #63 on: December 08, 2017, 11:42:37 PM »



If there's one thing I can't stand, it's when a harpsichord player uses chords to pound out the pulse. Glen Wilson has often a penchant for this type of playing, and it spoils this disc of Cabezon glosas for me. 

(Compare the rudeness of Wilson with the finesse of Clemencic, admittedly on different instruments but I can't believe there's not a less indelicate of way of interpreting Cabezon on harpsichord.) 
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Online Mandryka

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #64 on: December 08, 2017, 11:57:27 PM »


I'd say it's well worth hearing these Cabezon performances by Anne Landa, which are marked by a combination of seriousness, lyricism, introspection and tenderness. Not the slightest whiff of the Spanish Inquisition.  This is the sort of CD to hear late at night by candlelight . . .

Requoting just to note that this recording gets better and better with repeated listening. Well worth hearing, and not just by candlelight. Much better sound and experience losslessly rather than on Spotify.
« Last Edit: December 09, 2017, 12:34:18 AM by Mandryka »
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Offline bioluminescentsquid

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #65 on: February 05, 2018, 02:22:21 AM »


José Enrique Ayarra plays Arauxo on two organs in Seville, one at the cathedral and one in Osuna College Church. It's the second organ which is the real star of the show for me, the puppy on the right in this here image:



As you would expect, it's high and acid and full of dissonance and personality. And what's more Ayarra uses it for what sounds to me like a major masterpiece, a piece of music with a real distinctive character, Tiento 60 " de baxon de treinta y dos numeros al compas de segundo tono", whatever that means.

The title has made me think, probably quite unfairly, of somethink that Ochs says to butter up the Marschallin in Rosenkavalier "Da gibt's keine Flausen, keine Etikette, keine spanische Tuerei!"

Looking through a new edition of the facultad organica at a library, I noticed that Arauxo comments that this piece is intended to be played on a "Realejo" (Regal, or probably by extension small chamber organ) rather than a grand organ because the heavier touch and greater keydepth of a big organ might present difficulties for playing the 32 notes.

What do people make of Bates' recording of Arauxo?

Online Mandryka

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Re: Cabezón, Arauxo, Cabanilles etc etc
« Reply #66 on: February 05, 2018, 04:53:12 AM »

What do people make of Bates' recording of Arauxo?

Too much swagger and not enough mysticism for me. Organs a bit disappointing compared with Ayaro who remains by top choice for a big set.

I just listened to the two of them in that Tiento LX, and there's a thing that I didn't notice before, to do with touch. Ayaro varies his touch much more, creating lots of interesting effects, Bates less so.

I also listened to the Las Vacas variations which follow Bates's Tiento LX and feel the same way I'm afraid.
« Last Edit: February 05, 2018, 05:08:35 AM by Mandryka »
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