Corte Musical / Concalves - Evora - COMPACT DISCS [CD]

Album Tracks 1. Sonata 3 A-Moll FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 2. Sonate D-Moll FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 3. Sonata VI A-Dur FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 4. Ciacona E-Moll Buxwv 160 FÜR Cembalo & Basso Continuo 5. Sonata 4 A-Moll FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 6. Sonate F-Dur Buxwv 269 FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 7. Sonate C-Moll FÜR 2 Violinen, Violone & Basso Continuo 8. Sonata Duplex G-Moll FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 9. Sonate F-Dur «La Sidon» FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 10. Sonate B-Dur FÜR 2 Violinen, Viola Da Gamba & Basso Continuo 11. Triosonate 3 C-Moll Buxwv 262 FÜR Violine, Viola Da Gamba & Basso Continuo 12. Sonate G-Dur Buxwv 271 FÜR 2 Violinen, Viola Da Gamba & Basso Continuo

The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the city's first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift. The IncheverydayInch music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. The ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and it's natural period of spiritual preparation, namely Lent, were particularly noteworthy. Album Tracks 1. Stabat Mater~I. Stabat Mater dolorosa 2. Stabat Mater~II. Cuius animan gementen 3. Stabat Mater~III. Quae moerebat et dolebat 4. Stabat Mater~IV. Quis non posset contristari 5. Stabat Mater~V. Eja Mater fonts amoris 6. Stabat Mater~VI. Fac me vere tecum fleret 7. Stabat Mater~VII. Virgo virginium praeclara 8. Stabat Mater~VIII. Fac me plagis vulnerari 9. Stabat Mater~IX. Fac me cruce custodiere 10. Stabat Mater~X. Quis non posset contristari

Rocamadour, composed by Pablo Ortiz (1956) opens up an aesthetical enigma for the listener the letter from La Maga (Rayuela, 1963) inspires an orchestral fantasy, abstract and virtuosic, stylistically akin to minimal music but strongly anchored in a disquieting, dark rhythmic obstinacy, close to Uruguayan candombe. La noche boca arriba, by Julio Viera (1943) is technically a melodrama an orchestral composition that includes a narrative, meticulously rendered in the score. In our production, the text materializes in the voice of Lisandro Abadie, and Marcelo Nisinman is in charge of the subtle bandoneon part. The piece includes almost the totality of the original story. Viera's colorful palette projects itself on every scene the motorcycle on the damp Paris pavement, the accident, the repeated losses of consciousness at the hospital, the violent moves in the rainforest. Every instant is subtly and vividly described in an almost film-like language. Tercera Generación, by Marcelo Nisinman (1970) was inspired by a brief and powerful text, published in Último Round (1969). The piece is marked by a powerful rhythmic force. Nisinman writes without prejudice one can sense Mahler's stare hiding behind a dense tango-smoke. Album Tracks 1. Rocamdour for Chamber Orchestra 2. Tercera Generación for Bandoneon and Chamber Orchestra 3. La Noche Boca Arriba for Narrator and Chamber Orchestra