Baylado: Music of Renaissance Spain

On this CD:

1. Tan buen ganadico
Composed by Juan del Encina

2. De el pobo
Composed by Spanish Traditional

3. La dictó Froilan Gomez
Composed by Spanish Anonymous

4. De la mata
Composed by Spanish Anonymous

5. Falai miña amor
Composed by Luis de Milan

6. Baylado
Composed by Joan Baptista Comes

7. Fata la parte
Composed by Juan del Encina

8. Con pauor recordo
Composed by Luis de Milan

9. La tricotea Samartín
Composed by Alonso

10. Con amores, la Mi Madre for 4 voices
Composed by Juan de Anchieta

11. Los braços traygo cansados
Composed by Juan Vasquez

12. Pase el Agoa
Composed by Anonymous

13. Fantasia que contrahaze la harpa en la manera de Luduvico
Composed by Alonso de Mudarra

14. Sospirastes, Baldovinos
Composed by Luis de Milan

15. El Gran Duque
Composed by Lucas Ruiz de Ribayaz

16. Isabel, perdiste la tu faxa, for voice & vihuela
Composed by Alonso de Mudarra

17. De Toril
Composed by Spanish Anonymous

18. Eres, Agueda gloriosa I
Composed by Spanish Anonymous

19. No querades, fija
Composed by Spanish Anonymous

20. Eres, Agueda gloriosa II
Composed by Spanish Anonymous

Baylado: Music of Renaissance Spain, Music, Alonso, Juan de Anchieta, Anonymous, Spanish Anonymous, Joan Baptista Comes, Juan del Encina, Luis de Milan, Alonso de Mudarra, Lucas Ruiz de Ribayaz, Spanish Traditional, Juan Vasquez, Chamber, Chamber Music, Chamber Music & Recitals, Classical, Classical Artists, Classical Music, Miscellaneous, Miscellaneous Music, Part Song/Glee/Music for Unaccompanied Voices, Vocal, Vocal Music

Baylado: Music of Renaissance Spain
Average customer rating:

No se cantar, ni taner, mas un poco jugaria...

Completely missed the point

A Stirring Rendition

Baylado: Music of Renaissance Spain

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music
General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00005RDBH
Release Date: 2001-10-30

Tracks:

Tan Buen Ganadico
De El Pobo
La Dicto Froilan
De La Mata
Falai Mina Amor
Baylado
Fata La Parte
Con Pavor Recordo El Moro
La Tricotea Samartin
Con Amores
Los Bracos Traygo Cansados
Pase El Agoa
Fantasia Que Contrahaze La Harpa En La Manera De Ludovico
Sospirastes, Baldovinos
El Gran Duque
Ysabel
De Toril
Eres, Agueda Gloriosa I
No Querades, Fija
Eres, Agueda Gloriosa II

Customer Reviews:

No se cantar, ni taner, mas un poco jugaria..........2005-07-31

This recording attempts to give a portrayal of Spanish music from the turn of the 16th century, drawing upon works by some of the best composers of the period - Encina, Anchieta and Milan. Unfortunately, the emphasis here lies on 'attempts'; for in truth, there is not a solitary scrap of contemporary evidence which can be called upon to justify the kaleidoscopic jamboree of instruments exploited (amongst which some are at any rate from later in the century - the violin and sopranino recorder), or indeed the quasi-Moorish (liner notes, p.9 - 'we have a really cool Turkish drum') or jovial 'flamenco-fiesta' styles adopted. [Readers interested in how this music would have been performed should consult literature by Tess Knighton, etc ]. Apparently, the aim of the recording is to demonstrate how the music might have sounded if it had travelled south - although no explanation is offered as to why (or how) Castilian court music would have been absorbed by the rustic Al-Andalus music tradition. And whereas other groups using large [and anachronistic] forces create performances of superb quality (such as the Harp Consort or Hesperion XXI), here suspect musicology is complemented with some decidedly amateurish interpretations - perhaps most obviously in the Michael Morrow/Astrurian-inspired [why??] vocals (...ya cantan los gallos???). And as if this were not enough, errors abound in orthography (tracks 1, 7) and attribution (track 9), the translation of the texts sometimes verges on the inventive (track 9 is a particular case in point - see below*), and one piece (track 15) is not even from the right period (Ribayaz's collection 'Luz y Norte' was actually published well into the Baroque period, in Madrid in 1677, a fact silently omitted from the liner notes...although admittedly, the performance bears little resemblance to Ribayaz in any case).

This is some of the most beautiful music ever written [and there are plenty of excellent recordings of it currently available]. Do it justice - leave this CD alone.

If you absolutely must hear this music in flamenco style interpretations, I recommend you try the following recording where the performances are infinitely more accomplished:

'Fiesta Espagnola' - Mercedes Hernandez, Elva La Guardia and the United Continuo Ensemble (Raum Klang RK2408)

* La tricotea (track 16) is in fact a concoction of pseudo-Spanish/Portuguese/Italian gibberish, though no indication of this appears in the translation: non-existant words (such as 'tricotea' and 'tuleta') are merrily 'translated' into English, whilst for words with numerous possible definitions (such as 'la bota'), one translation is simply offered as gospel, even though the context does not eliminate the other possibilities.

Completely missed the point.......2004-05-20

This has to be the most misguided interpretation of Renaissance songs I have ever heard: Modern pseudo-flamenco versions of classic court and popular songs. Juan del Encina must be rolling in his grave. Please listen to Jordi Savall (Hesperion XX) or the Huelgas Ensemble instead. I expected more from Dorian Recordings, the folks who brought us the Baltimore Consort.

A Stirring Rendition.......2001-12-18

Ah, at last! I have been waiting breathlessly for the Terra Nova Consort's second CD ever since I purchased the first one (Renaissance en Provence) when it first came out. And their second outing into the world of Renaissance Mediterranean music certainly does not disappoint. According to their liner notes, their aim with this album is to explore the popular music of the Northern Spanish courts as it might have sounded had it travelled into Andalucia. And so we get amazing and fiery performances of many familiar songs from the 15th and 16th c. cancioneros, as well as some traditional music that wouldn't sound out of place to the Renaissance aesthetic. Guitars strum up a storm, castanets and tambourines beat away, and the violin and recorders provide a bright commentary on the melodies--and then the vocalists grind and soar above it all, sometimes in passionate harmony, sometimes in sparkling heterophony, and sometimes in virtuosic solo display, all inspired by the traditional vocal practices of Southern Spain. I have never come across a recording of this repertoire that so fully captures the spirit and the rhythmic and emotional potential of the music.

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