Spain 1479-1555

Music for Joan the Mad
Spain 1479-1555
La Nef - Sylvain Bergeron
Melodic MLD2-10003
Dorian Discovery 80128

Contents:

    Los Cantos del Exilio

  1. Dame la mano - La Sirena
  2. Una Matica de ruda
  3. Poco le das
  4. Dunula (instrumental)
  5. Dame la Mano (instrumental)
  6. El mi querido (instrumental)
  7. Dolores tiene la Reina
  8. Por allí pasó un cavallero
  9. Los bilbilicos
  10. Marcha sobre "Dame la mano" (instrumental)

    11. En Toledo, con los Reyes Católicos

  11. La Canela (instrumental)
  12. Dios te salve, Maria
  13. O Señor Dios
  14. Juan del Encina: Triste España sin ventura
  15. Francesco de la Torre: Alta / O Gloriosa Domina (spoken & sung)

    16. Reconquista

  16. Acuérdate de Andalucía... (spoken)
  17. Paséabase el Rey Moro
  18. O Gloriosa Domina (instrumental)
  19. Juan del Encina: ¡Levanta, Pascual!

    20. El Amor y la Muerte

  20. Josquin: Mille regrets (instrumental)
  21. Si je perdais mon amy
  22. William Cornish: Adieu corage, adieu
  23. Agricola: De tous bien playne (instrumental)
  24. Todas estas canciones (spoken)
  25. Juan Vásquez: ¿Con que la lavaré?

    26. El Nuevo Mundo

  26. L'Homme armé / Credo in unum Deum (spoken & sung)

Performers: Sylvain Bergeron (lute, oud, saz, voice), Nathalie Cloutier (soprano, recitation), Claire Gignac (alto, recorders, gemshorn, bowed psaltery, recitation), Nicolas Lemieux (voice), Isabelle Marchand (viol, vielle, voice), Jean-Pierre Noiseux (santur, percussion, recorders, flute, voice, recitation), Rafik Saman (voice, percussion)

Playing time: 66'

Recording date: September 1991, rel. 1992 (Melodic), 1995 (Dorian)

Text to tracks #13, #15 (partly), #16 (partly), #24, #26 is by Alain Bergeron. Music to tracks #13 & #26 is by Sylvain Bergeron.

The first section of this program "Los Cantos del Exilio" is taken from ethnomusicological reconstructions of songs from oral traditions originating among the exiled Jews of Spain.

This program originated in a dramatic presentation, and gives full reign to creativity rather than keeping strictly to established performance norms for music of the period.

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Todd M. McComb