MORE HISPANO YR A OYDO (豆瓣)

表演者: Vicente Parrilla / Raquel Andueza / Fahmi Alqhai / Jesús Fernández / Miguel Rincón / Javier Núñez / Álvaro Garrido
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 2010
出版者: Carpe Diem Records
条形码: 4032324162795

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简介 · · · · · ·

　　Vicente Parrilla recorders, direction
　　Raquel Andueza soprano
　　Fahmi Alqhai viola da gamba
　　Jesús Fernández lute, theorbo
　　Miguel Rincón lute, guitar, theorbo
　　Javier Núñez harpsichord
　　Álvaro Garrido percussion
　　Yr a oydo is an old Spanish expression for ‘going by heart’. It rethinks the role of a performer of early music today,
　　who i... (展开全部) 　　Vicente Parrilla recorders, direction
　　Raquel Andueza soprano
　　Fahmi Alqhai viola da gamba
　　Jesús Fernández lute, theorbo
　　Miguel Rincón lute, guitar, theorbo
　　Javier Núñez harpsichord
　　Álvaro Garrido percussion
　　Yr a oydo is an old Spanish expression for ‘going by heart’. It rethinks the role of a performer of early music today,
　　who instead of only playing what is written in the music follows his or her own creative process.
　　Improvisation was more than a common practice in daily music-making during the Renaissance. Spanish musi-
　　cians of the time provide a brilliant example of this practice. Regardless of the type of publication, whether it was
　　theoretical like Tomás de Sancta María’s Ar te de tañer fantasía (Valladolid 1565) or Francisco Salinas’ De Musica libri
　　septem (Salamanca, 1577), or it was pedagogic like e.g. Diego Ortiz’s Trattado de Glosas... (Roma, 1553) or it was
　　one of the various practical music editions – all of them can be seen as a written reﬂ ection of the improvisational
　　practice and demonstrate great excellence and a good deal of inventiveness.
　　A glance at any of the copious performing directions of these books and nearly any 16th century music book
　　as well as a superﬁ cial analysis of almost any publication by such eminent musicians like Cabezón or any of the
　　vihuelists, will immediately reveal an active approach to repertory and music making.
　　It shows us, that the composers invite the musicians to develop the pieces with all kind of manipulations, from
　　the simplest embellished versions to the most thoughtful reworking, including the addition of extra lines or the
　　alteration of the original structure of the pieces.
　　So it doesn’t mean the performers took the liberty of manipulating, but the composers explicitly asked for the
　　involvement of the playing musicians in every aspect of the creative techniques mentioned above. This active ap-
　　proach leads us to consider many of these musicians as composers rather than just performers and that during the
　　Renaissance the division between these two roles was often unclear. So many of the crafts we normally associate
　　exclusively with the composer’s work were indeed common tools for most 16th century professional performers.