Dicen que hay amor. Tonos Humanos del Cancionero de Mallorca y otros manuscriptos / Tonos Humanos from Cancionero de Mal

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multikulti.com:
Siedemnaste stulecie było bardzo mrocznym wiekiem w dziejach Królestwa Hiszpanii, mimo iż władca jego - wcale nie teoretycznie - władał największym imperium w dziejach, państwem, nad którym "słońce nie zachodziło". Kryzysy finansowe królestwa, głód, epidemie, i wszelkiego rodzaju nieszczęścia spadały co i raz na mieszkańców Królestwa Hiszpanii. Pomimo ciągłego kryzysu społecznego, ekonomicznego i epistemologicznego, i nałożenia na całą twórczość kagańca dominującej, państwowo-religijnej ideologii, kultura hiszpańska tamtego okresu miała przebłyski geniuszu. A muzyka była bardzo ważną częścią tej kultury, zwłaszcza muzyka wokalna.

Była to forma bardzo - jak na ówczesne czasy - swobodnej formy wypowiedzi, obszar, na którym można było uwolnić skrępowane namiętności, dać i wyraz i formę. Teatr - który bardzo szybko pojawia się w całej Hiszpanii - był dostępny dla wszystkich klas społecznych, a muzyka odgrywała tam bardzo ważną rolę. Przedstawienia teatralne, które grane były wówczas w całym kraju, były doskonałym sposobem dla rozprzestrzeniania i obiegu muzyki, jej form zarówno wokalnych (Tonos), jak i instrumentalnych (Sones).

I właśnie muzyka tego okresu, wokalno-instrumentalna, zebrana została na niniejszym albumie. Obdarzona zjawiskowym, ciepłym głosem sopranistka Marivi Blaso wraz zespołem Armoniosi Concerti oraz niezwykle cenionym lutnistą Juanem Carlosem Riverą wybrali na prezentowaną tu płytę kompozycje najwybitniejszych artystów tamtej epoki - Sebastiána Duróna, Juana de Celisa, Juana Hidalgo, José Marína czy też Francisco Monjo. Efektem jest cudowne, pełne dramaturgii, ale też przesycone ciepłem, i słońcem nagranie. Polecamy gorąco!

Editor's info:
The 17th century was a very dark century for the peninsular kingdoms. Famine, epidemics, and all kinds of miseries seized upon a diminishing and very fragmented population. In spite of the continuous social, economical and epistemological crisis and of the imposition of an ideology of domination, Spanish culture had flashes of brilliance. And music was a very important part of that culture, particularly vocal music. It was a vehicle of expression for restrained passions, a music that, at times, sang to disillusionment and deception of the senses, just like the tono that lends its title to this recording. Theatre was accessible to all social classes, and it provided both a relief from and a vehicle for the transmission of the prevailing value-system. Music played a very important role. Theatre performances, which spread throughout the land, were an excellent way for the spreading and circulation of music, both in vocal (tonos) and instrumental (sones) forms. Late in the 17th century, writing tonos for the stage was similar to making a record. If a comedia or zarzuela was a success, the most outstanding tonos would be copied on the most exquisite manuscripts, taught by the most renowned maestros de tonos, and performed by the best músicas de cuerdas at the most exclusive soirees. The Tonos selected for this recording coincide with this period, in which theatre performances enjoyed a new boost. While only five tonos can be traced back directly to theatrical sources, the relationship that the rest have with stage performances is quite clear. The sources from which these tonos have been retrieved reflect, in any case, a moment in which music had ceased to be composed for the stage and had become chamber music. Broadly speaking, the tono or tonada in Spanish Baroque music, can be defined as the music that accompanies a text in romance language.

The "Armoniosi Concerti" ensemble takes its name from the guitar book "Armoniosi concerti sopra la guitarra spagnuola" by Domenico Pellegrini, published in Bolonia in 1650. It emerges as a result of the same titled recording of its director, Juan Carlos Rivera, featuring Italian music from the 17th century for guitar and theorbo, in which he gets accompanied by another theorbo and Page 1 another guitar in several pieces. The record obtained, among other distinctions, the *****Goldberg. The group is receiving a very good response from the public, for the lively and entertaining way that their programmes are put together. Their record "Zarambeques", dedicated completely to the Spanish music of the 17th and 18th centuries, for the label Harmonia Mundi, has obtained excellent international reviews (*****BBC Music Magazine, *****Klassik, ****Le Monde de la Musique, "E" from Scherzo, ****Ritmo, ****Amadeus, CD Compact, Classical Guitar Magazine, La Guitare Classique, Fonoforum, American Record Guide reccomendations...). A second CD for Harmonia Mundi is now available: "Silva de Sirenas", with the countertenor Carlos Mena collaboration, dedicated to the Spanish vihuelist Enríquez de Valderrábano. Since its formation at the end of 2001, Armoniosi Concerti has given concerts in many international festivals such as the Lufthansa Festival of Baroque Music at London, the Festival Internacional de la guitarra of La Habana, the Festival of Musica Antiga of Barcelona, the Festival Internacional de Musica y Danza de Granada, the Festival de Música Antigua de Daroca, the Quincena Musical Donostiarra of San Sebastian, etc.. In 2003, they recorded an hour-long program for the international TVE channel in the Borbone's Palace music room, at the San Lorenzo de El Escorial Monastery, dedicated to theSpanish music of the 17th and 18th centuries around the guitar. Depending on the concert programme, Armoniosi Concerti presents different formations from the basic trio, wich is often added to by the involvement of singers: María Espada, Lluis Vilamajó, Carlos Mena, Raquel Andueza, Olga Pitarch, or instrumentalists: Francisco Rubio (cornetto), Fahmi Alqai, Sara Ruiz and Itziar Atutxa (viola da gamba), José Manuel Vaquero (hurdy-gurdy), and Bárbara Sela (dulcian).