{"id":1200,"date":"2018-10-06T16:07:27","date_gmt":"2018-10-06T16:07:27","guid":{"rendered":"https:\/\/reflejarte.es\/tallercreativo\/?page_id=1200"},"modified":"2022-03-30T11:39:32","modified_gmt":"2022-03-30T11:39:32","slug":"ancient-mosaic-with-guitar","status":"publish","type":"page","link":"https:\/\/reflejarte.es\/lareverie\/en\/ancient-mosaic-with-guitar\/","title":{"rendered":"Ancient Mosaic with Guitar"},"content":{"rendered":"

\"La<\/a><\/p>\n

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\"La<\/a><\/p>\n

Ancient Mosaic with Guitar<\/big><\/h1>\n

Music of the Renaissance and Baroque<\/h2>\n

by <\/small>Esteban Canyar – La R\u00eaverie<\/h3>\n

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Ancient Mosaic with Guitar<\/b><\/span> created by Esteban Canyar – La R\u00eaverie<\/b><\/span>
\nWorks of Mil\u00e1n, Narv\u00e1ez, Dowland, Reusner, Roncalli, Bach and troubadour music; guitar and voice.
\n41:23 min., 16 tracks\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Listen to the music<\/u><\/b><\/a><\/p>\n

Genre<\/b>: Classical \/ Renaissance, Baroque
\nArtists<\/b>: Esteban Canyar, Palmira Irisarri, Angel Mart\u00edn
\nInstrumentation<\/b>: guitar, vocal, percussion<\/p>\n

Notes about the Album<\/h3>\n

Ancient Mosaic with Guitar<\/b><\/h2>\n

The guitar is related to the repertoire of the lute and the vihuela as the piano is to the harpsichord or organ. This magical instrument, as Stravinsky said referring to Andr\u00e9s Segovia\u2019s guitar \u201csounds little, but goes far\u201d; has given me the opportunity to immerse myself in the works of great and historical composers such as those recorded in ‘Ancient Mosaic with Guitar’. I consider it a privilege to be able to receive through their scores, the sensitivity of such maestros.<\/p>\n

The works of Reusner, Milan, Roncalli, etc, sound good on the modern Spanish guitar, a direct descendant of all those old instruments for which they were written. I just had to play them freely and with respect, feeling them as part of the guitar and without trying to make them sound as anything other than what they intrinsically are. The recording of ‘Ancient Mosaic with Guitar’ was made several times over the last few years. I never consciously set out to make an album like this, I was simply interested in a particular piece, and so studied and recorded it. Finally, I found I had enough stylistically homogenous material to produce a CD.<\/p>\n

Two musical friends participated: the soprano Palmira Irisarri<\/span>, who sings on tracks 3, 5, 7, 10, 13 and 15, and the percussionist \u00c1ngel Mart\u00edn<\/span>, who plays on track 16. My thanks to both of them.<\/p>\n

It was very gratifying for me to work with Palmira Irisarri, an excellent soprano and musicologist. Her singing is distinguished by her sweet, natural timbre and the perfect tuning of her voice. No doubt her style is perfectly suited for these Spanish Renaissance pieces, so often interpreted with later centuries\u2019 approaches.<\/p>\n

Track 16, \u201cImprovisation about Quand voie\u201d, deserves a separate paragraph. It is not an old piece, but is based on a familiar melody in the repertoire of the troubadours \u201cQuand voie la flor nouvelle\u201d, anonymous. This is a recreation of the original, but with a completely modern interpretation, adding parts of my own composition.<\/p>\n

Esteban Canyar<\/p>\n

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The Composers<\/b>\"Luis<\/h3>\n

Luis de Mil\u00e1n<\/b><\/span> (1500 \u2013 1561) was the author of the first printed book on the vihuela in Spain, in 1536. His work is predominated by the homophonic style but with an instrumentation completely independant from the vocal music, so it’s aesthetically advanced for its time. Also, it is one of the first works that gives instructions on how to mark time in music. There are four villancicos and one soneto from his book \u201cLibro de m\u00fasica de vihuela de mano intitulado El Maestro\u201d, edited in Valencia.<\/p>\n

The Granadian Luis de Narv\u00e1ez<\/b> <\/span>(1500 \u2013 1550) was an instrumentalist and composer. He was at the \"Luisservice of, amongst others, the Empress Elizabeth, wife of Charles V, and Prince Philip, whom he accompanied occasionally on his travels throughout Europe. \u201cThe Song of the Emperor\u201d, which appears in this recording, was a transcription for the vihuela from the original work of Josquin\u2019s \u201cMille Regretz\u201d delighting Charles V, as it was amongst his favourites. Both the \u201cCanci\u00f3n del Emperador\u201d and the villancico \u201cArded, coraz\u00f3n, arded\u201d are part of the \u201cLos seys Libros del Delphin, de m\u00fasica de cifra para ta\u00f1er vihuela\u201d published in Valladolid in 1538. In the work of this renowned composer we can observe the predominance of counterpoint, although with certain touches of polyphonic vocal technique.\"John<\/p>\n

John Dowland<\/b><\/span> (1563 \u2013 1626), famous in his day as a lutist and singer was almost forgotten during the eighteenth and nineteenth centuries but was strongly revived in the twentieth century. He is one of the greatest English composers of all time. His musical language has a distinct and unmistakable sound, essentially melancholic, as befitted this period. It is often described using the title of one of his historical works: \u201cSemper Dowland, semper dolens\u201c (always Dowland, always doleful).<\/p>\n

Esaias Reusner<\/b><\/span> (son), L\u00f6wenberg (1636-1679) was one of the great German \"Esaiasvirtuosos of the baroque lute. His music contains Germanic organization and Italian inspiration. He wrote two collections of Lute Suites: \u201cTestudinis deliciae\u201d and \u201cNeue Lauten-Fr\u00fcchte\u201d. Despite being relatively unknown, he has an important place in music history as he was the first German composer to use the French style and because his works constitute the first documents within the development of instrumental suites. His music had a significant influence on Seventeenth-century Germany.<\/p>\n

Antonio Ludovico Roncalli<\/b> <\/span>(1654 \u2013 1713). There is very little information about this Italian composer. \"LudovicoThe quality of his work is way superior to its historical recognition. We know that he belonged to the nobility, and held the title of count. In 1692, in the city of Bergamo, he published a collection of suites for baroque guitar, entitled \u201cCapricci Armonici sopra la chitarra spagnola\u201d. In 1881, Oscar Chilesotti transcribed it for the modern 6-stringed guitar. The work consists of nine complete suites that are frequently found in the repertoire of many guitarists. The \u201cPassacaglia\u201d of the \u201cSuite in G minor\u201d, in this recording, became very famous in its time and was used by Otto Respighi in his Ancient Aires and Dances.<\/p>\n

With Johann Sebastian Bach<\/b><\/span> (1685 \u2013 1750) the counterpoint style reaches its climax, and is in some \"Johannways a summary of all the music that precedes it. Nowadays many people consider Bach the greatest composer of all time. His music is endowed with great vitality, organization and complexity. Here we offer one movement of Suite No. 1 for solo cello, transcribed for the guitar, an instrument that is particularly suited to the musical style of this genius from Eisenach.<\/p>\n

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Lyrics<\/b><\/h2>\n

Quien amores ten<\/b><\/span> (Villancico, Mil\u00e1n)
\nQuien amores ten
\na fin que los ben
\nque non he veinto
\nque va y ven.
\nQuien amores ten
\nall\u00e1 en Castella,
\ne ten seu amor
\nen dama donzella.
\nA fin que los ben
\ne non parta de ella,
\nque non he veinto
\nque va y ven.<\/p>\n

Nova angeletta sovra l’ale accorta<\/b><\/span> (Soneto, Mil\u00e1n)
\nNova angeletta sovra l’ale accorta
\nscese dal cielo in su la fresca riva
\nl\u00e1’nd’io passava sol per mio destino.<\/p>\n

Poi che senza compagna et senza scorta
\nmi vide, un laccio, che di seta ordiva,
\ntese fra l’herba ond’ \u00e9 verde il camminato.<\/p>\n

Chi si diletta peregrino andare,
\nchi serve a gentil homo, chi a signore,
\nchi cade in guerra, chi se anega in mare,<\/p>\n

chi desidera thesor, chi fama e honore.
\nA me dato \u00e9 per mio destino amare
\net morir alfin per troppo amore.<\/p>\n

Levayme amor d’aquesta terra<\/b><\/span> (Villancico, Mil\u00e1n)
\nLevayme amor d’aquesta terra,
\nque non far\u00e9 m\u00e0s vida en ella.
\nLevayme amor al ysla perdida,
\nlevayme con vos poys soys mi\u00f1ya vida.
\nQuel corpo sin alma non vive en la terra,
\nque non far\u00e9 m\u00e0s vida en ella.<\/p>\n

Poys dezeys que me quereys ben<\/b><\/span> (Villancico, Mil\u00e1n)
\nPoys dezeys que me quereys ben
\nporqu\u00e9 days falla a ningen.
\nVos dezeys que me amays
\nYo os veggo que burlays.
\nSi vos a ningen fallays
\nyo non vos queir\u00e9 mas ben.<\/p>\n

Arded, coraz\u00f3n, arded<\/b><\/span> (Villancico, Narv\u00e1ez)
\nArded, cora\u00e7\u00f3n, arded,
\nque no os puedo yo
\nvaler, valer;
\nquebr\u00e1ntase mi cora\u00e7\u00f3n
\ncon penas y dolores;
\nquebr\u00e1ntanse las pe\u00f1as
\ncon picos y a\u00e7adones.<\/p>\n

Falai mi\u00f1a amor<\/b><\/span> (Villancico, Mil\u00e1n)
\nFalai mi\u00f1a amor,
\nfalaime.
\nSi no me fallays
\nmatayme, matayme.
\nFalai mi\u00f1a amor,
\nque os fa\u00e7o saber.
\nSi no me falays
\nque non te\u00f1o ser.
\nPois teneys poder
\nfalaime.
\nSi no me fallays
\nmatayme, matayme.<\/p>\n

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Listen to the music<\/big><\/p>\n

Ancient Mosaic with Guitar – Mosaico antiguo con guitarra <\/b> \u00a0 by La R\u00eaverie
\n<\/small><\/span><\/h3>\n

\"La<\/a>Esteban Canyar<\/strong>, guitar
\nPalmira Irisarri<\/strong>, soprano
\n\u00c1ngel Mart\u00edn<\/strong>, percussion<\/h3>\n

Mil\u00e1n, Narv\u00e1ez, Dowland, Reusner, Roncalli, Bach and arrangements of trovadore musics.<\/h3>\n

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Enjoy our\u00a0 album Ancient Mosaic with Guitar<\/strong><\/a> or listen to a selected track on Spotify, for free.<\/p>\n

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Listen to the abum (fragments):<\/p>\n