94302 Vihuelas_BL2 v3_Brilliant 01/11/2011 15:39 Page 1
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Adios mi amor Duets for vihuelas Francisco Guerrero 1 2 3 4 5
Joan Ambrosio Dalza
1528–1599
Si tus penas no pruebo Niño Dios d’amor herido Adios mi amor Huyd, huyd, o çiegos amadores Todos aman
2’10 1’39 1’47 2’04 1’51
11 12 13 14
Anonymous
fl.1508
Tastar de corde (JS) Caldibi castigliano Calata ala spagnola (MM) Calata ala spagnola ditto terzetti
1’22 1’48 2’00 2’51
20 Tiento (JS) 21 Recercata (JS) 22 Folías en primer tono
Guillaume de Morlaye
c.1510–c.1558
Alonso de Mudarra
2’30
c.1510–1580
7 Romanesca: O Guardame las vacas* 2’41
Guillaume de Morlaye 3’09
1548–1611
3’15
Nicolas Gombert
c.1495–c.1560 Intabulated by Enríquez de Valderrábano fl.1547
10 Assiste parata
15 Mille regretz
3’12
1’43
Luis de Narváez c.1500–c.1550 16 Mille regretz (La cancion del Emperador) (MM)
3’36
Intabulated by Enríquez de Valderrábano
3’47
3’01
Delitiae Musicae
Lopez (‘Ramillete de flores’ Manuscript,16th century)
18 Fantasia de Lopez (MM)
2’10
Mendoza (‘Ramillete de flores’ Manuscript,16th century)
19 Diez diferencias de Folias
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2’05
Anonymous (Vienna copy of Silva de Sirenas, 16th century)
17 Et in Spiritum Sanctum
Tomás Luis de Victoria
3’35
Cristóbal de Morales c.1500–c.1553
8 Conte Clare*
9 O Magnum Mysterium
1’38 3’32 2’14
23 Música para discantar sobre un punto 24 Sobre el tenor del conde claros
25 Diferencias de çaravanda
Josquin des Prez c.1450–1521 6 Gaillarde (Romanesca)*
Enríquez de Valderrábano
(Barbarino Manuscript, Naples, c.1580–1610)
3’36
Jesús Sánchez (JS) 7-course vihuela by Lourdes Uncilla, Madrid, Spain, 1998 *Renaissance guitar by Carlos González, Córdoba, Spain, 2001
Manuel Minguillón Nieto (MM) 6-course vihuela by Francisco Hervás, Granada, Spain, 2001 *7-course lute by Stephen Murphy, Mollans sur Ouvèze, France, 2003
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Para tan˜er juntos en dos vihuelas: Renaissance Spanish music for two vihuelas The pairing of two vihuelas is, in many ways, an authentic reflection of Renaissance performance traditions. Not only does it conform to the period’s preference for combining instruments from the same family, as opposed to those with different sonorities, it also follows the Renaissance practice of playing polyphonic duets on plucked instruments, with one instrument (known as the tenorista) providing harmonic support and the other supplying melodic figuration and embellishment. Even in the 15th century, as lute technology developed to allow a soloist to play multiple voices, polyphonic duets did not disappear; duo performance delivered an enhanced sonority and made accessible a polyphonic repertoire that was almost impossible for one instrument. Our programme follows this tradition, featuring both original Renaissance vihuela duets and our own intabulations (arrangements), evoking the sound and image of two courtesan vihuelists performing in a 16th century palace. While we have focused on the varied and complex music of 16th century Spain, we have also included pieces from Italian and French sources that display a Spanish influence. Improvisation was an important part of Renaissance vihuela performance and we have featured it profoundly in this recording in an attempt to reconstruct the ‘non-written repertoire’, music that was performed widely but not notated. Using a common Renaissance technique, we have adapted a number of well-known solo vihuela pieces by adding an improvised part. The two ‘Folias’ pieces by Mendoza and Valderrábano (tracks 19 and 22) are examples of this technique, as are the two pieces by Guillaume de Morlaye and Alonso de Mudarra’s famous Romanesca: O Guardame las vacas, published in Seville in 1546. All these pieces are based on ostinati, a harmonic scheme that repeats constantly, which one vihuelist uses as a basis for improvisation while the other plays the original composition. Improvisation is also used in Valderrábano’s Música para discantar sobre un punto, which is built over a single chord called an atambor (in this case, a chord of F major) that is repeated throughout the piece to create a pedal effect, over which the other vihuela provides embellishment. In a similar way, various repeated chords are used by Joan Ambrosio Dalza in Calata alla spagnola, which,
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published in Petrucci in Venice in 1508, is the earliest work included in this programme. Dalza was probably of Spanish origin, and the typical characteristics of his style can be heard in this piece’s captivating melodies, rich texture and experimental harmonies. Some of the works included on this recording are sacred and were originally intended for performance in large spaces like cathedrals. However, it was common practice for vihuela players to take pieces out of their original performance contexts and arrange them for educational use or private performance. We have included two intabulations of sacred pieces by the vihuelist and composer Valderrábano, the only Spanish composer to publish music for two vihuelas – Assiste parata, originally by Nicolas Gombert, and Et in Spiritum Sanctum, by Cristóbal de Morales. We have also made our own intabulations of sacred works, including pieces by Francisco Guerrero that originally appeared in manuscript 975 from the ‘Archiva Manuel de Falla’ in Granada (Adios mi amor and Todos aman) and the book of Villanescas Espirituales published in Venice in 1589 (Si tus penas no pruebo, Niño Dios d’amor herido and Huyd, huyd, o çiegos amadores). Further intabulations of sacred works include Tomás Luis de Victoria’s O Magnum Misterium, the Renaissance ‘hymn’ Mille regretz by Josquin des Prez and La cancion del Emperador, a glossa (ornamentation) on the same chanson by Luis Narváez, published in Valladolid in 1538. We designed our programme to feature the most important Spanish composers of the Renaissance, such as Morales, Guerrero and Victoria, together with some of the greatest vihuela composers, like Narváez, Mudarra and Valderrábano, who in his fourth book of Silva de Sirenas wrote: ‘obras compuestas de famosos autores Para Tan˜er Juntos En Dos Vihuelas’ (‘Pieces composed by famous composers to be played together in two vihuelas’). A number of solo pieces have also been included, such as Dalza’s Tastar de corde, Lopez’s Fantasia and Tiento and Recercata from the Barbarino Manuscript. Together with the duets, these are the true gems of 16th century counterpoint, and highlight the broad range of styles and composers that flourished in Spain, Italy and France during the Renaissance. 훿 Jesús Sánchez, 2011 Translation: Manuel Minguillón Nieto
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Delitiae Musicae Founded in 2007 by Jesús Sánchez and Manuel Minguillón Nieto, the vihuela duo Delitiae Musicae researches and brings to light Spanish repertoire of the 16th century, the ‘golden century’ of both Spanish polyphony and the vihuela, one of the country’s most authentic instruments. The ensemble performs Spanish repertoire originally composed for two vihuelas, but also intabulates (arranges) other polyphonic music with four or more voices by composers such as Tomás Luis de Victoria, Cristóbal de Morales and Francisco Guerrero. In addition, the ensemble plays duets of well-known solo vihuela pieces, adding an improvised part to the original piece. Both Jesús Sanchez and Manuel Minguillón have broad and successful professional careers, having performed internationally as solo and continuo players with ensembles such as SEMA, Capilla Peñaflorida, Orphenica Lira, The Tallis Scholars, Gabrieli Consort & Players, The Kings Singers, Florilegium and the Monteverdi Choir. They have recorded for international labels such as Naxos, K617, Glissando, Tecno-Saga, Arsis, Signum Records and Brilliant Classics. As a duo, they have appeared at festivals in Montreal (Canada, 2007), Ljubljana (Slovenia, 2008), Loulé (Portugal, 2008), Madrid (Spain, 2008 and 2009), Paris (France, 2010), Gijon (Spain, 2011) and Ottawa (Canada, 2011). Some of their arrangements have been published in the ‘Sociedad de la Vihuela’ journal, and their performances have been broadcast live by the radio stations RNE, RTP and the BBC. This is their debut CD of duets for Brilliant Classics. Delitiae Musicae dedicate this recording to the memory of Tony and Charlotte Roberts Acknowledgements: Catriona Thompson, Laura Miguel, Tony Roberts, Charlotte Roberts, Titos Roldán, Manuel Martín
Jesús Sánchez and Manuel Minguillón Nieto
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Recording: 5–7 August 2010, St. Andrew's Church, Toddington, Gloucestershire, United Kingdom Producer, engineer and digital editor: Adrian Hunter Musical editing: Jesús Sánchez and Manuel Minguillón Nieto Cover photograph: from ‘El Maestro’ by Luis Milan, 1536. Taken by Manuel Minguillón Nieto Photographs of Delitiae Musicae: Manuel Martín & 훿 2012 Brilliant Classics
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