Tientos y Glosas en Iberia

Tientos y Glosas en Iberia
Jesús Martín Moro / Ensemble Gilles Binchois - Dominique Vellard
Tempéraments 316014

Contents:

  1. Gombert: Canto del caballero (voices)
  2. Antonio de Cabezón: Diferencias sobre el Canto llano del caballero (organ)
  3. Antonio de Cabezón: Diferencias sobre la Gallarda milanesa (organ)
  4. Antonio de Cabezón: Magnificat 1º tono (alternating, voices & organ)
  5. Rore: Anchor che col partire (voices)
  6. Antonio de Cabezón: Ancol que col partire (organ)
  7. Estacio Lacerna (1574-1625): Tento de 6º tom (organ)
  8. Pierre Sandrin: Doulce mémoire en plaisir consumée (voices)
  9. Hernando de Cabezón: Dulce memoriae (organ)
  10. Anon: Je prens en grey la dure mort (voices)
  11. Hernando de Cabezón: Je prens en grey (organ)
  12. Correa de Arauxo: Tiento de medio registro de dos tiples de segundo tono (organ)
  13. Correa de Arauxo: Segundo tiento de quarto tono (organ)
  14. Correa de Arauxo: Tiento de medio registro de baxón de dezimo tono (organ)
  15. Canto llano de la Inmaculada Concepción (voices, organ)
  16. Pedro de Araujo (c.1610-1674): Tento de 2º tom (organ)
  17. Cabanilles: Tiento de ma esquerra (organ)
  18. Cabanilles: Pange lingua (voices, organ)
  19. Antonio Correa Braga (fl.17th siècle): Batalha de 6º tom (organ)

Performers: Jesés Martín Moro (organ), Anne-Marie Lablaude (soprano), Akira Tachikawa (countertenor), Eric Mentzel (tenor), Dominique Vellard (tenor), Jacques Bona (bass)

Instrument: Orgue Fontanes de Maqueixa (1765) de São Vicente à Lisbonne, with detailed registration information included

Playing time: 77'

Recording dates: April (Lisbon; organ) & August (Saint-Michel-en-Thiérache; vocal), 1998

The present program illustrates a range of the enigmatic Spanish keyboard forms of the era, beginning with the early Renaissance summations of Cabezón and continuing into the true Baroque of Cabanilles, whose works survive in much larger quantity than those of previous Spanish & Portuguese keyboard composers. As usual with this label, the organ itself is emphasized in rather stately performances, although many of the vocal works on which the keyboard variation treatments are based are included to fine effect.

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Todd M. McComb