Music from the Spanish & Portuguese Baroque and Renaissance

Started by Bogey, October 09, 2011, 03:08:23 PM

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milk

Just a couple of things I'm enjoying that I wanted to throw up here - one old; the other, not so old:


Que

Quote from: Que on March 03, 2012, 10:44:04 PM
Yes, it did. :) The day before yesterday - I might play it this morning.

The Spanish Baroque seems a neglected area of music. Maybe we should speak of "Iberian" Baroque since the Spanish form a musical family with the Portuguese (with the Spanish in the lead), or even "Hispanic" to include the music that was composed in the Spanish and Portuguese territories in the Americas. Note that the French label K617 dedicated a whole series Les Chemins du Baroque on that, consisting of 57 recordings! :o I believe you're interested in the history of the Americas, so it might worth investigating.  :)

Other things I noted about Spanish Baroque is that it is, probably due the religious and hence cultural conservatism that started under Philips II, conservative as well. A lot of musical conventions of the Renaissance continued to be used well into the Baroque era. The impulse for change and renewal came from outside Spain, from Italian and particularly Neapolitan composers and music. The huge influence of Domenico Scarlatti, who worked at the Portuguese and Spanish courts, is of course the prime example.

I'll posts some of the recordings I have in the coming time. :)

Q

A project that unfortunately never materialised..... But I intend to rectify that in the time ahead! :)

Since then my collection of music from the Iberian peninsula has grown considerably.  8)

Q

Que

Quote from: HIPster on July 07, 2017, 05:36:38 AM
Now playing ~

[asin]B00ESNNYFS[/asin]

Such a great Que recommendation!   ;)

Any other releases by this group you particularly recommend for further exploration?

Dear friend, it is appropriate to start the rebirth of this tread with the response to this question that I still owe you.....

First of all, I'm delighted that you enjoyed the Lobo recording as much as I did. :)

Good Spanish groups are not so numerous.
But Albert Recasens and his La Grande Chapelle are proof of a new generation of period ensembles in Spain with a modern day high professional standard.
As often the case with this genre, recordings are on tiny, hard to find labels. In this case Lauda Musica, which offers beautiful presentation and high recording quality BTW.

A discography of La Grande Chapelle is to be found on Lauda Music's pretty website HERE.

Recordings I particularly like to recommend are the two recordings of sacred music by Baroque composer José De Nebra and the Matteo Romero recording.

 



I do apologise in advance if availability turns out to be a nightmare.... ??? But you managed to unearth the Lobo, so who knows?

I'll see if I can find some previous comments and repost them here...

Q

Que

**REPOST**

Music from Spain, dating from the transition from Renaissance to Baroque.

[asin]B000BO0Q0E[/asin]

Based at the Philip II's court in Madrid, Matteo Romero was born in Liège (then part of the Spanish territories in the Southern Netherlands - present day Belgium) as Mathieu Rosmarin and belongs to the fifth and last generation of the Franco-Flemish School (incl. Lassus, de Rore, Vaet, de Weert). What I hear are is basically Italian style from the dawn of Baroque, mixed in with influence from the tradition of the Northern Netherlands, topped with a Spanish flavour - for example the typical conservative use of Gregorian style interludes.

Q

Que

.[asin]B000JR0DRO[/asin]
Though this is from the Baroque, José de Nebra applied the Stile Antico here with the use,  amongst others things, of Gregorian chant. A conservative, retrospective style, which might appeal more to Early Music lovers. :)

A very informative review from Fanfare:

Quote
José de Nebra, one of Spain's leading 18th-century composers, was born into a musical family in Calatayud, where he was baptized on January 6, 1702. His initial musical training took place under his father, José Antonio Nebra, who became in turn organist and then maestro di capilla at Cuenca Cathedral. In 1719, the younger Nebra moved to Madrid, where he became organist at a convent and started to compose for the theaters in the city. Five years later he was appointed as organist at the royal chapel. After turning down offers to become maestro at Santiago Cathedral, and organist at Cuenca, Nebra was appointed vice-maestro of the royal chapel (in 1751), remaining in Madrid until his death on July 11, 1768.

Nebra's extensive output, which includes both stage works and a large body of sacred music, has hardly begun to be explored on record, although a zarzuela, Viento es la dicha de Amor (1743), was reviewed with great enthusiasm by David Johnson in Fanfare 20:2; and Tom Moore was no less responsive to a recording of his 1751 Matins in 25:5. The present setting of the Vespers psalms and Magnificat is the last of four settings made by Nebra, appearing in 1758 under the title "Vespers for the community of saints or the Virgin." Here it has been put into the context of a liturgical reconstruction for the Office of Vespers for the "Common of Confessors not Popes," and includes three of the Vespers psalms—Dixit Dominus, Beatis vir, and Laudate pueri—along with two further appropriate psalms, plainsong antiphons, and the hymn Iste confessor.

Unlike Nebra's other Vespers settings, which have orchestral accompaniment, this one is a strictly a capella work for four voices, here sung one to a part. A variety of alternatim choices have been made, mostly polyphony and plainsong, but in the case of Confitebor tibi the verses alternate between fauxbourdon (simply harmonized chant) and organ, while Laudate pueri is shared between organ and polyphony. In general terms, Nebra's polyphony is extremely restrained, with little use of melisma or word repetition, relying rather on an exquisite use of dissonance and harmonic shifts for its often profound effect. It is music whose timelessness is betrayed only by the odd touch that anchors it to its own century.

Much the most ambitious setting is that of the Magnificat, where the willingness the composer had shown elsewhere to admit limited word-painting (at "De torrente" in Dixit Dominus, for example, where the four parts tumble over each other in dramatically surging fashion) comes into greater play, along with generally greater expansiveness. "Quia respexit" employs some of Nebra's most affectingly beautiful dissonance to illustrate the "humble state" of the Virgin, while "Et misericordia" not only introduces a startling flattened tone on the second syllable of "misercordia," but darker, harsher dissonance at the words "timentibus eum" ("who fear him").

But dominating all this music is a feeling of a profound, understated spirituality that is further enhanced by performances that do it full justice. The substantial contribution of the plainsong Schola Antiqua under their director Juan Carlos Asensio (who was responsible for the reconstruction) is beautifully judged, while the four voices of La Grande Chapelle (Anne Cambier, soprano; Timothy Travers-Brown, alto; Nicholas Mulroy, tenor; and Jonathan Brown, bass) are not only excellent individually, but also blend perfectly, creating a finely worked web of sound in Nebra's polyphony, while producing some admirably animated singing in the rarer moments where a more extrovert approach is required. Herman Stinder's playing on a dulcetly toned positive organ is also worthy of praise, although it does not sound as if it has any Spanish characteristics. But then neither does the vocal writing, which is rather that of the stile antico that was still very much alive and well in the mid 18th century. The sound and presentation are both outstanding, although the actual texts are unfortunately printed in very small type. But that should be no deterrent to investigating an exceptional recording of music of high quality.

FANFARE: Brian Robin

Q

Que

Another from my collection:



Like I said on the Listening thread: here is superb disc of motets by the unknown and underrated Spanish Renaissance composer  Fernando De Las Infantas.

These motets are pretty advanced in style, absorbing influences from the late Franco-Flemish School (Josquin) and earlier Spanish composers like Morales.
The result are motets, ranging from 4 to 8 parts, with long, interweaving and blending lines. Continuously developing.
Execution by Michael Noone and his Ensemble Plus Ultra is examplary: there is a perfectly blending of sound whithout blurring the individual parts.
In its individuality and modernity in style, this composer holds his own, aided by a wonderful performance.

Recommended.

Q

Spineur

In case somebody else wonders, Blasco de Nebra, mostly known for his classical piano work is, according to wikipedia, the son of José de Nebra discussed in this thread.  Like his father he was an organist.  He died at only 33.

He also wrote some vocal works.  I was told some recording exist but they are not available commercially.

Mandryka

Very much enjoying Jantina Noorman and confreres on this transfer of an LP with a Christopher Columbus theme by Michael Murrow. What I love about these Musica Reservata performances from the 1960s and 1970s is the sense of experimentation. Noorman could sing classically, but he had her sing like a fish wife from Sardinia, partly because he thought that those European folk traditions were untainted by romanticism, and so were more like early singing - clearly more work needs to be done with conclusion there! Travel in time = travel in space.

I also suspect that part of his motivation, like Pérès and Schmelzer and indeed Harnoncourt, was to disorientate.

https://youtube.com/v/tqAoaOttygo
Wovon man nicht sprechen kann, darüber muss man schweigen

North Star

Just starting to listen to this album by Capella de la Torre - a selection from the Cancionero Musical de Palacio, a collection of vocal and instrumental music for Queen Isabella's court, the collection dates from around 1505-1520, apparently prepared after Isabella's death to preserve the court orchestras' repertory.

[asin]B00MYJ1C0M[/asin]
"Everything has beauty, but not everyone sees it." - Confucius

My photographs on Flickr

XB-70 Valkyrie

#29
Any good music from the time of the Spanish Inquisition? 

If you really dislike Bach you keep quiet about it! - Andras Schiff

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

XB-70 Valkyrie

If you really dislike Bach you keep quiet about it! - Andras Schiff

North Star

Anyone who bothers to look into this thread should have this set, especially for the Morales disc.
[asin]B0026S1XVO[/asin]
"Everything has beauty, but not everyone sees it." - Confucius

My photographs on Flickr

Carlo Gesualdo

This is my favorite composer of Portugal,  I remember 10-15 yrs ago, I order the splendid album  of Cardoso Requiem perform by Tallis scholars, it was so awesome, on of their best(Tallis Scholars) and  order from another ensemble missa Miserere Mihi Domine(on Harmonia Mundi) since I was so impress, what a great master.

On another forum some dude, said Portugal was a sh*t hole , whit no culture no talent  no super composer, I was angry at him, did he just investigate composer of Portugal like I just did Lobo is another  good master, but Cardoso I mean wow, I was blown away, what about Maghales  Missa are they state of the art too, very well done.

This post is about Cardoso doe, There a lot of recording of him, he an important composer in the matrix of composer of renaissance for sure, I strongly disagree whit the idiot whom mention Portugal, had no talents.

I subject you guys purchased both of these album. Or thy out the naxos Portuguese Polyphony it's a fine compilation thumbs up naxos, am I alone to like this composer are what, please comment tell me what you think of these albums I mention?

JCBuckley

Quote from: North Star on August 17, 2017, 09:33:25 AM
Anyone who bothers to look into this thread should have this set, especially for the Morales disc.
[asin]B0026S1XVO[/asin]

100% agree. A glorious set.

Carlo Gesualdo

sir this look good and most sound good, what walk like a duck, quack like a duck, it most be a duck, as a rational thinker I agree JCBuckley, great set of the great Iberic masters, I love Iberac ancient lore renaissance, this Jordi Savall most be sweet indeed I says.

It's a catastrophe this earthquake in Iberian Peninsula, we lost a lot of music, to our sadness, Iberic Masters wrote the prettiest music,What about this awesome  CD of  Cristobal de Morales new by La Grande Chapelle done by a super conductor smart AlbertRecacasens, this release called Lamentabatur Iacob is pretty epic in a true sense,, the sleeve of the media itself is lovely  painting, the music insinde is prettyy on Lauda label, I fully endorse this , Bravo!!!

Carlo Gesualdo

#36
So what can I says I'm blown away by this release on Andalusian label release of Ensemble plus Ultra, very nice, smart, moving performance, very clever in the end.

I love the art of Motets and this is splendid, wonderful, Joyful, just wondering if you heard of this Seville classic composer of taste, prestigious polyphony.Do you heard more of him? on other labels or ensemble?

Iota

Quote from: Que on July 28, 2017, 11:34:11 PM
Another from my collection:



Like I said on the Listening thread: here is superb disc of motets by the unknown and underrated Spanish Renaissance composer  Fernando De Las Infantas.

These motets are pretty advanced in style, absorbing influences from the late Franco-Flemish School (Josquin) and earlier Spanish composers like Morales.
The result are motets, ranging from 4 to 8 parts, with long, interweaving and blending lines. Continuously developing.
Execution by Michael Noone and his Ensemble Plus Ultra is examplary: there is a perfectly blending of sound whithout blurring the individual parts.
In its individuality and modernity in style, this composer holds his own, aided by a wonderful performance.

Recommended.

Q

Thanks, both, another interesting sounding name to join the list. I've only heard one short Las Infantas work, on an album of Renaissance selections which I liked, so will see if I can track this down for an online listen.

Carlo Gesualdo

#38
José Melchor Baltasar Gaspar Nebra Blasco (January 6, 1702 – July 11, 1768) was a Spanish composer. His work combines Spanish traditions with the Italian style of his day.


Contents
1   Biography
2   Works
2.1   Sacred works
2.2   Operas
2.3   Zarzuelas
3   Notable performances
4   Selected recordings
5   References
6   External links
Biography
José de Nebra was born in Calatayud[1] and was taught by his father, José Antonio Nebra Mezquita (1672–1748), organist and master of choirboys at the Cathedral of Cuenca from 1711 until 1729. Two brothers were also musicians: Francisco Javier Nebra Blasco (1705–1741), organist of La Seo in Zaragoza until he moved to Cuenca in 1729, then succeeded by his brother Joaquín Ignacio Nebra Blasco (1709–1782) till his death.[2] He died in Madrid.

More than 170 works by Nebra survive: masses, psalms, litanies, a Stabat Mater, a Salve Regina, cantatas, villancicos, and around thirty keyboard works. But his significance is as the leading late-Baroque composer of Spanish opera and zarzuela.[citation needed]

Works
Sacred works
Aromática rosa Americana
Miserere
Para un triunfo que el orbe
Requiem for Queen Barbara of Braganza
Rompan los vagos espacios
Salve regina
Cantata: Entre candidos bellos
Operas
Amor aumenta el valor (collective work, 1st act only), 1728
Venus y Adonis, 1729
Más gloria es triunfar de sí. Adriano in Syria, 1737
No todo indicio es verdad. Alexander in Asia, 1744
Antes que zelos y amor, la piedad llama al valor. Achilles in Troy 1747
Zarzuelas
Las proezas de Esplandián y el valor deshace encantos, 1729
Amor, ventura y valor logran el triunfo mayor, 1739
Viento es la dicha de amor, 1743
Donde hay violencia no hay culpa, 1744
Vendado es Amor, no es ciego, 1744
Cautelas contra cautelas y el rapto de Ganimedes, 1745
La colonia de Diana, 1745
Para obsequio a la deydad, nunca es culto la crueldad. Iphigenia en Tracia (Thrace), 1747
No hay perjurio sin castigo, 1747
Notable performances
The composer's 250th anniversary in 2018 saw the programming of some of his works, for example at Musica Antigua Aranjuez, the early music festival at Aranjuez. A performance of the opera Venus y Adonis has been scheduled for 2019 by the Centro Nacional de Difusión Musical.[3]

Selected recordings
1996 - Viento es la dicha de amor (zarzuela). Ensemble Baroque de Limoges, dir. Christophe Coin. Naïve
2001 – Miserere. Al Ayre Español. Deutsche Harmonia Mundi
Sonata, op. 1 no. 4 for harpsichord, performed by Janine Johnson
2005 – La Cantada Española en América. Al Ayre Español. Harmonia Mundi
2006 - Vispera de Confesores. La Grande Chapelle, dir. Àngel Recasens. Lauda Musica
2006 - Arias de Zarzuelas. María Bayo, Al Ayre Español, dir. Eduardo López Banzo. Harmonia Mundi
2010 – Amor aumenta el valor (opera). Los Músicos de Su Alteza. Alpha
2011 - Cantatas. Esta Dulzura Amable. Al Ayre Español, dir. Eduardo López Banzo. Challenge Classics
2011 - Principio des Maitines de Navidad; Responsorium I, Nocturno 1, Nativitatis Domini. "Madrid 1752, Madrid Barroco, dir. Grover Wilkins. Dorian
2011 - Iphigenia en Tracia (zarzuela). El concierto español, dir. Emilio Moreno. Glossa
2019 - Requiem. La Madrileña - Coro Victoria - Schola Antiqua, dir. José Antonio Montaño. Pan Classics
2020 - Vendado es Amor, no es ciego (zarzuela). Los elementos, dir.Alberto Miguélez Rouco. Glossa
Ref

vers la flamme

I picked this up at Half Price Books recently:



It's damn good, especially the Duarte Lobo and Manuel Cardoso stuff.