Music For The Spanish Kings (豆瓣)

表演者: Hespèrion XX / Jordi Savall
专辑类型: CD
介质: Audio CD
发行时间: 2001
出版者: EMI Classics
唱片数: 2
条形码: 0724356187528

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简介 · · · · · ·

　　Like the Renaissance itself, Music for the Spanish Kings begins with a strutting fanfare and ends with a melancholic sigh. Attaining his usual high standards, Jordi Savall has fashioned a poignant and varied musical portrait of the century encompassing the reigns of three Spanish kings: Alphonso I (1442-58), Ferdinand I (1458-94), and Charles V (1516-56).
　　Montserrat Fig... (展开全部) 　　Like the Renaissance itself, Music for the Spanish Kings begins with a strutting fanfare and ends with a melancholic sigh. Attaining his usual high standards, Jordi Savall has fashioned a poignant and varied musical portrait of the century encompassing the reigns of three Spanish kings: Alphonso I (1442-58), Ferdinand I (1458-94), and Charles V (1516-56).
　　Montserrat Figueras' rich mezzo-soprano voice carries over half the pieces on the first disc. Her stunning vibrato imparts a troubadour's sadness to the cancions. Her impeccable rhythms carry dance tunes like "Cingari siamo venit's giocare." Her style is so confident, so persuasive she could induce some listeners into fits of swift dancing, uncontrollable foot tapping, or perhaps persistent dreams of whirling campesinos in colorful capes.
　　As in his many previous CDs, Savall displays unflagging taste in both his composer selections – he elicits the best from over a dozen obscure composers – and in his arrangements. He orchestrates Adrain Willaert's "Vecchie letrose" with snappy percussion, brisk flute, guitar, and Figueras' vivacious voice So infectious it seems to end prematurely, leaving the listener craving more. Perhaps that was Savall's intention, for there is more: the entire second disc. Antonio de Cabezón (1510-66) composed all of these instrumental pieces, but only on keyboard. It was Savall's redoubtable task to decide which ones would be brass ensembles and which would be sweet essays on his charmed viol. Some of Cabezón's pieces for the viol undulate seductively like those of Sainte Colombe, who composed more than a century later. Others coax complex variations (diferencias) from the musicians, like the chivalric "Diferencias sobre 'La dama le demanda," play slowly like well-executed foreplay. I wish the CD producers had provided text for the songs, or even instrument listings. But the collection thrives well without them. Joyous and dark, mysterious and brazen, each piece is a panoply of subtle mood shifts.
　　Copyright © 2001, Peter Bates

曲目 · · · · · ·

Zappay
Viva, viva rey Ferrando (canión)
De tous biens plaine
Donde estas que non te veo (canción)
Figlie Guilielmin (basse danse)
Amor que t'o fat hio (strambotto)
Puis Fortuna
Qué es mi vida preguntáis (from Renaissance Songs: 15th & 16th century) (arr. Ockeghem)
Collinetto (ballo)
Dindirindin (romance)
O Dio se vede chiaro
Il Re di Spagna (Francisco della Torre), basse danse - danza alta
Dezilde al cavallero
Diferencias sobre el canto del cavallero
Cingaro siamo venit'a giocare
Fantasia I - Fantasia II 'Salve Regina'
Ay luna que reluzes
Gallarda napolitana
Vecchie letrose
Himno XIX: Pange lingua IV
'Pour un plaisir' (Thomas Crecquillon)
Diferencias sobre 'La Dama le demanda'
Tiento II. Cuarto tono
Pavana con su glosa
Fabordones del sexto tono
Tiento VIII
Quien llamo al partir, partir?
Tres sobre la Alta (Spagna)
'Un gay bergier' (Thomas Crecquillon)
Diferencias sobre las Vacas (romanesca)
Tiento IX. Quinto tono
'Para quien crié cabellos' (Folia)
Tiento XIII. Fuga a cuatro
Tiento VII. Cuarto tono
Diferencias sobre la Pavan Italiana
'Je file fille quant dieu me donne de quoy' (Adrian Willaert)
Tiento III. Primer tono