Alonso Mudarra

This recording presents us with the finest chansons and instrumental pieces of the Spanish Renaissance - the Golden Age which, between the accession of Charles V (1516) to the end of the reign of Philip II (1598), saw the blossoming of an incredibly rich polyphonic output. Of the 'Ensalada' Cervantes tells us that it was 'a kind of song in different metres': it was thus called because it was like a culinary mixture: these 'salads' are an Iberian form of the quodlibet and the Parisian fricassées.

[This title was released for the first time in 1998.]

For the first time, this budget priced 6 CD collection re-presents Segovia’s highly-prized recordings made for American Decca in the 1940s and 1950s, when he was arguably at the height of his powers. Here are the first six albums released by the label in that now legendary series, presented for the first time in original LP couplings and with their striking original-sleeve artwork: Andrés Segovia Guitar Solos; An Andrés Segovia Recital; An Andrés Segovia Concert; An Andrés Segovia Program; An Evening with Andrés Segovia; Andrés Segovia Plays…

Many of these 80+ tracks are appearing on Deutsche Grammophon for the first time. The set has been newly remastered, with a minimum of intervention, from original tapes or tape copies of original glass masters. Like the best whisky, Segovia’s art is unfiltered on these CDs. The results reveal a new intimacy and delicacy in these six classic recitals that are wholly captivating.

The package: Mini-LP sleeves (front and back), CD booklet (in the style of the The Martha Argerich Collection) has new liner notes by Segovia expert Graham Wade comprising introduction and annotations on each of the albums, with colour minis.

Unrivalled, this recording presents a typical instrument of the XVIIth century, a replica of the oldest instrument in the Americas as the organ of Andahuaylillas, in Peru. Built by the French organ company Jean-François Dupont, the instrument has been temporarily transplanted to the main concert hall of the Arsenal of Metz, conceived by the architect Ricardo Bofill. Ideally located, this organ can deliver all the beauty of its stops in this exceptional acoustic, revealing the richest melodies played in Latin America during the XVIIth century.

During the mid-16th century in Spain, it became increasingly common for collections of music to include tablature that would enable performers of other polyphonic instruments to perform the repertoire. With the recent addition of chromatic strings, the harp was one such mechanism to benefit from this, and its presentation in this beautifully performed compilation of works offers a fascinating glimpse into the rich world of Iberian Renaissance music making.

The compositions detailed in this recording are taken from three separate sources of the period: books by Mudarra, Venegas de Henestrosa and Antonio de Cabezón. While Mudarra’s work ‘for harp or organ’ is unique in that it’s the closest thing we have to genuine 16th-century harp music, the compilation focuses primarily on the keyboard works of Antonio de Cabezón and includes in tabulations (arrangements of chansons and madrigals originally written by some of the most renowned mid-century composers), dances, variations and tientos – freely composed polyphonic fantasias. Not only does the recording introduce us to the different genres of the period, revealing an instrument that had grown ‘as perfect as the clavichord’, it honours the work of a man who was in fact one of the foremost keyboard performers and composers of his time. Surveying a lesser known facet of one of the most famous periods in music history, this collection is a must-buy for the Renaissance connoisseur.

The Spanish vihuela has taken a special place in the music of the 16th century. It is a cosmos of its very own, or rather a comet which blazed across the sky at about 1500 and soon after 1560/70 ceased to glow, not finding a real successor. It is courtly art – as such intended to please and delight to the listener – and by all means on a par with Spanish organ music in its compositional quality and earnestness.

If it admits influences from abroad then only from the pinnacles of European music, works from Josquin, Richafort and other internally renowned composer of that time. The composers of the villancicos, fantasias, recercadas, canciones and, above all, the diferencias (formerly a novelty in Europe: the variation) were typical expressions of the Renaissance. They were educated, often engaged in various areas of artwork, for example, the poet Juan de Encina, or Luis de Milán who emulating the Italian role model of Castiglione wrote a book about the courtier, which dealt with the virtues distinguishing the nobleman at court. They were poetical composers of wonderful songs and, at the same time, austere counterpointers who elaborated congenially simple polyphonies which, however, particular for this reason touch us so strongly.

To them, vocals and the vihuela belonged together. This is obvious in their efforts to merge with the succession of mythological vocalists. For example, the frontispiece of “El Maestro” (Valencia 1535) by Luis de Milán displays a representation of Orpheus as a singer who naturally plays the vihuela. Or Luis de Narváez has the image of the singer Arion precede his work “Los seys libros de Delfin” (Valladolid 1538), showinghow Arion is rescued from distress at sea by the dolphins he had summoned with his chant (which, of course, is accompanied by the vihuela). Hence the canciones and vilancicos accompanied by the vihuela certainly are the vihuela’s most significant contribution to the history of Spanish music.