CANTAR DE AMOR Juan Hidalgo and 17th-century Spain
Juan Sancho, tenor
Accademia del Piacere
Fahmi Alqhai, viola da gamba & direction Rami Alqhai, viola da gamba Johanna Rose, viola da gamba Enrike Solinís, Baroque guitar & archlute Javier Núñez, harpsichord Pedro Estevan, percussion
Total playing time 56:42 Recorded in Seville (Espacio Santa Clara), Spain, in January 2015 Engineered by Jordi Gil Produced by Fahmi Alqhai and Rami Alqhai Booklet essay by Juan Ramón LaraBooklet in English - Français - Deutsch - Español
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CANTAR DE AMORJuan Hidalgo and 17th-century Spain
01 Andrea Falconieri: Passacalle a tre 02 José Marín: No piense Menguilla ya 03 Andrea Falconieri: Ciaccona a tre 04 Juan Hidalgo: Trompicávalas Amor 05 Juan Hidalgo: La noche tenebrosa 06 Francisco Guerau: Marionas 07 Mateo Romero: Ay, que me muero de zelos 08 Juan Hidalgo: Esperar, sentir, morir 09 Gaspar Sanz / Fahmi Alqhai: Pavana 10 Juan Hidalgo: Ay, que me río de Amor 11 Juan Hidalgo: Ay amor, ay ausencia 12 Gaspar Sanz: Passacalle sobre la D 13 Juan Hidalgo: Rompa el aire en suspiros 14 Mateo Romero: Romerico florido
About this CD
For Cantar de Amor, Fahmi Alqhai and Accademia del Piacere are joined by their fellow Andalusian, the tenor Juan Sancho (well-received for his operatic roles), in an impressive new survey of seventeenth-century Spanish dramatic songs depicting the trials of love. Many of the tonos on this new disc from Glossa (home to a growing number of recorded programmes from Alqhai and his striking sound world) were composed by Juan Hidalgo, the foremost musical figure of the time – the quatercentenary of his birth fell late last year – one who worked with Pedro Calderón de la Barca in producing a wide variety of works of musical theatre. If many of such works as these were lost in a disastrous fire in Madrid in 1734, Sancho and Accademia del Piacere have been able to gather together an excellent array of surviving canciones to express the vibrancy and character of the torments of love in the Spanish theatrical manner.
Fahmi Alqhai and his instrumental colleagues also provide vital renditions of marionas, chaconas and passacalles in order further to go to the heart of the musical spirit of a Spain when limited cultural influences were entering the country from elsewhere in Europe. Juan Ramón Lara pens a contemporary view of the importance in the era of Hidalgo and fellow composers such as Mateo Romero and José Marín; a golden artistic age at a time of impending financial crisis.