1 800 222 6872

Adio España - Romances, Villancicos & Improvisations from Spain / Baltimore Consort

> Morena me llaman - Morena me llaman
> Avrix mi galanica - Avrix mi galanica
> La mananna de San Juan - La manana de San Juan
> Trattado de glosas (arr. for chamber ensemble) - Trattado de glosas: Recercada la Spagna (arr. for chamber ensemble)
> Danza alta, sobre "la Spagna" - Danza Alta
> Tiento - Tiento
> Triste estava el rey David - Triste estava el rey David
> Riu, riu, chiu - Riu, riu, chiu
> Tres morillas m'enamoran - Tres morillas m'enamoran
> Di, perra Mora - Di, perra Mora
> Trattado de glosas (arr. for chamber ensemble) - Quinta pars
> Trattado de glosas (arr. for chamber ensemble) - Recercada primera sobre el passemezzo antico
> Trattado de glosas (arr. for chamber ensemble) - Recercada segunda sobre el passamezzo moderno
> Qu'es de ti, desconsolado? - Qu'es de ti, desconsolado?
> Levanta Pascual, levanta - Levanta Pascual, levanta
> Orphenica lyra, Book 5 - Orphenica lyra: Morenica, dame un beso
> Una sanosa porfia - Una sanosa porfia
> Sagaleja del Casar - Sagaleja del Casar
> Cucu, cucu, cucucu - Cucu, cucu, cucucu
> Calabaca, no se, buen amor - Calabaca, no se, buen amor
> Tu madre cuando te pario - Tu madre cuando te pario
> Yo me soy la morenica [Villancico, aus "Cancionero de Uppsala", 1500-1550] - Yo me soy la morenica
> Ay triste, que vengo - Ay triste, que vengo
> Oy comamos y bebamos - Oy comamos y bebamos
> Baila nena - Baila nena

Album Summary

>Traditional, Sephardic : Morenica a mí me llaman
>Traditional, Sephardic : Avrix mi galanica (Let Me In, My Love)
>Pisador, Diego : La mañana de San Juan
>Ortiz, Diego : Recercada "La Spagna", for vihuela (from Trattado de Glosas)
>Torre, Francisco de la : Alta à 3 (Danza sobre La Spagna)
>Mudarra, Alonso de : Tiento para harpa u organo
>Mudarra, Alonso de : Tres libros de musica en cifras
>Traditional, Christmas : Riu, riu, chiu!, carol (Spanish)
>Anonymous, Cancionero de Palacio : Tres morillas m'enamoran
>Guerrero, Pedro : Di, perra mora (Instrumental)
>Ortiz, Diego : Quinta pars (Ruggiero), for vihuela (from Trattado de Glosas)
>Ortiz, Diego : Recercada no 1 (Passamezzo antiguo), for vihuela (from Trattado de Glosas)
>Ortiz, Diego : Recercada no 2 (Passamezzo moderno), for vihuela (from Trattado de Glosas)
>Encina, Juan del : ¿Qu'es de ti, desconsolado?, cancionero (from Cancionero de Palacio)
>Encina, Juan del : Levanta, Pascual, cancionero (from Cancionero de Palacio)
>Fuenllana, Miguel de : Morenica, dame un beso, for vihuela
>Encina, Juan del : Una sañosa porfía, cancionero (from Cancionero de Palacio)
>Anonymous, Cancionero de Palacio : Sagaleja del Casar, for vihuela (from Cancionero de Palacio)
>Encina, Juan del : Cucú, cucú, cucúcu, cancionero (from Cancionero de Palacio)
>Anonymous, Cancionero de Palacio : Calabaça, no sé, buen amor (Pumpkin, I don't know, my love), villancico (from Cancionero de Palacio)
>Traditional, Sephardic : Tu Madre cuando Te Parió
>Anonymous, Cancionero de Palacio : Yo me soy la morenica (I am the little dark girl), villancico
>Encina, Juan del : Ay triste que vengo, cancionero for 3 voices (from Cancionero de Palacio)
>Encina, Juan del : Oy comamos y bebamos, cancionero (from Cancionero de Palacio)
>Traditional, Galician : Baila nena (Dance little girl), folk song (Galician)
Ensemble Composers

Notes & Reviews:

"If you think about historic recreation, you'll undoubtedly think of today's popular Renaissance Faires. In music, such dedication to historic reproduction is to be found in recordings and performances by early music ensembles, such as The Baltimore Consort, one of the finest groups of musicians in the U.S. whose passion music of the Medieval, Renaissance, and early Baroque periods. In their new Dorian Recording entitled Adio España, The Baltimore Consort unveils 25 Renaissance gems from 15th-16th century Spain.

In The Baltimore Consort's well-curated program, there are several types of works recorded of Christian, Jewish, and Moorish origin, from all regions of the Iberian peninsula: simple Sephardic melodies (folksongs with minimal accompaniments); instrumental dances or improvisations - for lutes, viols, wind instruments, vihuelas (early Spanish guitars), and percussion; and secular folksongs and dances - or cancioneros, often classified into two categories - romances (poetic ballads) and villancicos (livelier, often heroic songs and dances with refrains). Just as you might enjoy a Renaissance Faire without being a rabid historian of the period, it can be fascinating to just experience this music without reading any historical notes. One can clearly hear the distinctive seeds of Spanish musical style in these old works. However, the succinct, informative historical notes enclosed in this CD, as well as the excellent translations of lyrics, provide an increased level of understanding and enjoyment, like taking a tour through a Spanish museum with an expert. The romances and villancicos are particularly well chosen, found often in related pairings that complement each other. Several of the finest sets were composed by Juan del Encina, considered the most prolific and popular master of cancioneros from the Ferdinand-Isabella era. Among several anonymous works, a few singular works by various composers, six of Encina's works are featured, along with four colorful improvisations by Diego Ortiz.

Brazilian countertenor José Lemos' guest vocal performance throughout the recording is a definitive highlight, with polished singing befitting the varied enchanting, heroic, and occasionally saucy lyrics. You may snicker a bit at lines such as "Be sure to satisfy your wife yourself / Cuckoo, cuckoo, cuck-cuckoo / Be careful not to be one," as I did, but if I had to choose a favorite track, it would be Lemos' haunting, fado-like performance of Tu Madre Cuando Te Parió in which he sings an especially touching Spanish refrain, translated "Farewell, farewell beloved / I no longer wish to live / You made life bitter for me." Also worth hearing is vibrant vihuela/guitar playing from Mark Cudek, one of the founding leaders of the consort. The technical production causes the CD to suffer slightly from occasional unevenness of balance, with some vivid percussion parts pushed further into the background than necessary, and an occasional microphone so close to a wind instrument to capture its player's deep consumption of breath, as well as their dominant presence in the sound of the ensemble.

Overall, advocates and fans of early music should find The Baltimore Consort's collection a satisfying journey through Spanish Renaissance music history."-Customer Review



Reviews

A Satisfying Collection of Spanish Renaissance Music
If you think about historic recreation, you’ll undoubtedly think of today’s popular Renaissance Faires. In music, such dedication to historic reproduction is to be found in recordings and performances by early music ensembles, such as The Baltimore Consort, one of the finest groups of musicians in the U.S. whose passion is music of the Medieval, Renaissance, and early Baroque periods. In their new Dorian Recording entitled Adio España, The Baltimore Consort unveils 25 Renaissance gems from 15th-16th century Spain. In The Baltimore Consort’s well-curated program, there are several types of works recorded of Christian, Jewish, and Moorish origin, from all regions of the Iberian peninsula: simple Sephardic melodies (folksongs with minimal accompaniments); instrumental dances or improvisations - for lutes, viols, wind instruments, vihuelas (early Spanish guitars), and percussion; and secular folksongs and dances – or cancioneros, often classified into two categories - romances (poetic ballads) and villancicos (livelier, often heroic songs and dances with refrains). Just as you might enjoy a Renaissance Faire without being a rabid historian of the period, it can be fascinating to just experience this music without reading any historical notes. One can clearly hear the distinctive seeds of Spanish musical style in these old works. However, the succinct, informative historical notes enclosed in this CD, as well as the excellent translations of lyrics, provide an increased level of understanding and enjoyment, like taking a tour through a Spanish museum with an expert. The romances and villancicos are particularly well chosen, found often in related pairings that complement each other. Several of the finest sets were composed by Juan del Encina, considered the most prolific and popular master of cancioneros from the Ferdinand-Isabella era. Among several anonymous works, a few singular works by various composers, six of Encina’s works are featured, along with four colorful improvisations by Diego Ortiz. Brazilian countertenor José Lemos’ guest vocal performance throughout the recording is a definitive highlight, with polished singing befitting the varied enchanting, heroic, and occasionally saucy lyrics. You may snicker a bit at lines such as “Be sure to satisfy your wife yourself / Cuckoo, cuckoo, cuck-cuckoo / Be careful not to be one,” as I did, but if I had to choose a favorite track, it would be Lemos’ haunting, fado-like performance of Tu Madre Cuando Te Parió in which he sings an especially touching Spanish refrain, translated “Farewell, farewell beloved / I no longer wish to live / You made life bitter for me.” Also worth hearing is vibrant vihuela/guitar playing from Mark Cudek, one of the founding leaders of the consort. The technical production causes the CD to suffer slightly from occasional unevenness of balance, with some vivid percussion parts pushed further into the background than necessary, and an occasional microphone so close to a wind instrument to capture its player’s deep consumption of breath, as well as their dominant presence in the sound of the ensemble. Overall, advocates and fans of early music should find The Baltimore Consort’s collection a satisfying journey through Spanish Renaissance music history.
Submitted on 08/12/09 by LStreby 
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Works Details

>Traditional, Sephardic : Morenica a mí me llaman
  • Ensemble: Baltimore Consort
  • Running Time: 5 min. 21 sec.

>Traditional, Sephardic : Avrix mi galanica (Let Me In, My Love)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 33 sec.

>Pisador, Diego : La mañana de San Juan
  • Ensemble: Baltimore Consort
  • Running Time: 3 min. sec.
  • Period Time: Renaissance

>Ortiz, Diego : Recercada "La Spagna", for vihuela (from Trattado de Glosas)
  • Ensemble: Baltimore Consort
  • Period Time: Medieval

>Torre, Francisco de la : Alta à 3 (Danza sobre La Spagna)
  • Ensemble: Baltimore Consort
  • Running Time: 2 min. 4 sec.
  • Period Time: Renaissance
  • Written: circa 1483-1504

>Mudarra, Alonso de : Tiento para harpa u organo
  • Ensemble: Baltimore Consort
  • Period Time: Renaissance

>Mudarra, Alonso de : Tres libros de musica en cifras
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 41 sec.
  • Period Time: Renaissance
  • Written: by 1546

>Traditional, Christmas : Riu, riu, chiu!, carol (Spanish)
  • Ensemble: Baltimore Consort
  • Running Time: 2 min. 14 sec.
  • Period Time: Baroque
  • Written: by 1556

>Anonymous, Cancionero de Palacio : Tres morillas m'enamoran
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 14 sec.

>Guerrero, Pedro : Di, perra mora (Instrumental)
  • Ensemble: Baltimore Consort
  • Running Time: 2 min. 14 sec.

>Ortiz, Diego : Quinta pars (Ruggiero), for vihuela (from Trattado de Glosas)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 37 sec.
  • Period Time: Medieval

>Ortiz, Diego : Recercada no 1 (Passamezzo antiguo), for vihuela (from Trattado de Glosas)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 59 sec.
  • Period Time: Medieval

>Ortiz, Diego : Recercada no 2 (Passamezzo moderno), for vihuela (from Trattado de Glosas)
  • Ensemble: Baltimore Consort
  • Running Time: 3 min. 10 sec.
  • Period Time: Medieval

>Encina, Juan del : ¿Qu'es de ti, desconsolado?, cancionero (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 3 min. 46 sec.
  • Period Time: Renaissance
  • Written: 1492

>Encina, Juan del : Levanta, Pascual, cancionero (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 2 min. 16 sec.
  • Period Time: Renaissance

>Fuenllana, Miguel de : Morenica, dame un beso, for vihuela
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 26 sec.
  • Period Time: Renaissance

>Encina, Juan del : Una sañosa porfía, cancionero (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 7 min. 4 sec.
  • Period Time: Renaissance

>Anonymous, Cancionero de Palacio : Sagaleja del Casar, for vihuela (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 22 sec.

>Encina, Juan del : Cucú, cucú, cucúcu, cancionero (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 54 sec.
  • Period Time: Renaissance

>Anonymous, Cancionero de Palacio : Calabaça, no sé, buen amor (Pumpkin, I don't know, my love), villancico (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 59 sec.

>Traditional, Sephardic : Tu Madre cuando Te Parió
  • Ensemble: Baltimore Consort
  • Running Time: 4 min. 31 sec.

>Anonymous, Cancionero de Palacio : Yo me soy la morenica (I am the little dark girl), villancico
  • Ensemble: Baltimore Consort
  • Notes: Composition written: Circa ??/1400-??/1500.
  • Running Time: 2 min. 35 sec.
  • Period Time: Renaissance
  • Form: Christmas
  • Written: circa ?/1400-??/15

>Encina, Juan del : Ay triste que vengo, cancionero for 3 voices (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 1 min. 40 sec.
  • Period Time: Renaissance

>Encina, Juan del : Oy comamos y bebamos, cancionero (from Cancionero de Palacio)
  • Ensemble: Baltimore Consort
  • Running Time: 2 min. 43 sec.
  • Period Time: Renaissance

>Traditional, Galician : Baila nena (Dance little girl), folk song (Galician)
  • Ensemble: Baltimore Consort
  • Running Time: 2 min. 14 sec.
  • Period Time: Renaissance