arte de fantasía

arte de fantasía

4.0 1
by Andrew Lawrence-King
     
 

In the 20th century, classical musicians were trained to follow composers' instructions to the letter, original texts were sought out, and editorial alterations were strictly verboten. It was the era of the urtext. Not surprisingly, improvisation became a lost art, but when looking back to the music of the past, one finds that the ability to improvise was anSee more details below

Overview

In the 20th century, classical musicians were trained to follow composers' instructions to the letter, original texts were sought out, and editorial alterations were strictly verboten. It was the era of the urtext. Not surprisingly, improvisation became a lost art, but when looking back to the music of the past, one finds that the ability to improvise was an essential facet of a musician's technique, and Andrew Lawrence-King has made it his business to restore that tradition. Fittingly, a 16th-century Spanish treatise on ornamentation -- Luis Venegas de Henestrosa's (c.1510-70) lengthy Libro de cifra nueva -- forms the basis for Lawrence-King and the Harp Consort's El arte de fantasía, a rich program that includes some of Henestrosa's own fantasías (basically, re-workings of others' compositions), as well as new improvisations following Henestrosa's instructions. The result is chamber music of startling freshness and expressive intensity. The sounds in themselves are ravishing, too: Lawrence-King plucks both a Renaissance harp and a Spanish double harp, and moves about on organ, harpsichord, and psaltery, aided by the magnificent young viola da gamba virtuoso Hille Perl and three other Harp Consort veterans. Writing about the old Spanish master in an extensive booklet note, Lawrence-King claims that the Libro shows Henestrosa's "true colors as a creative and daring artist." Given the eloquence of the interpretations here, one could say the same about Lawrence-King.

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Editorial Reviews

All Music Guide - James Manheim
With El arte de fantasía, Andrew Lawrence-King and his Harp Consort have once again put together an album that is attractive to hear even as it introduces audiences to an esoteric repertoire. Any lover of harp music might enjoy the pristine sounds and graceful ornaments of Lawrence-King's Spanish double harp and Renaissance harp. The selections here come from the era of Spain's King Charles V. Lawrence-King is featured on every track, usually accompanied by a small group of string and keyboard instruments. As on other recordings, Lawrence-King focuses on a single musical entity as an entry point to a complex repertoire, in this case a publication, the Libro de cifra nueva para tecla, arpa & vihuela (Book of New Tablatures for Keyboard, Harp, and Vihuela) of 1557. The music reflects various influences: improvisatory procedures, variation structures that were the ancestors of later ground bass pieces, semi-popular song, and the Flemish polyphony of Josquin and his contemporaries that was the high-art music of its time. Mixing preexisting materials together to create something new was central to the music's conception. Luis Venegas de Henestrosa, the book's compiler, brought together arrangements of works by various composers, often drastically altering the originals and even merging several different works into a single new piece. By the lights of the old cult of individual creativity, Henestrosa was a defacer, but as a hip-hop sampler he'd be a natural. Lawrence-King leads the listener into this compositional world, undertaking improvisations "after Henestrosa", providing extensive liner notes, and even indulging in a little fantasy of his own, using overdubbing to record a 40-part "fuga" by Henestrosa with just five musicians. El arte de fantasía will please both casual listeners and those curious about specific Renaissance musical cultures.

Product Details

Release Date:
04/13/2004
Label:
Harmonia Mundi Fr.
UPC:
0093046731625
catalogNumber:
907316

Tracks

  1. Entrada, improvisation after Henestrosa & Cabezón  -  Harp Consort  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (05:01)
  2. Tres sobre el canto Ilano de La alta (after Cabezón)  - Luis Venegas de Henestrosa  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:33)
  3. Mille regretz (after Josquin), for vihuela  - Luys de Narváez  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (02:48)
  4. Demandez vous, canción (after Crequillon)  - Luis Venegas de Henestrosa  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:25)
  5. Je vous, canción  - Luis Venegas de Henestrosa  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:26)
  6. Tiento para harpa u órgano  - Alonso de Mudarra  - Andrew Lawrence-King  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (00:47)
  7. Tiento sobre la Pavana real  - Enríquez de Valderrábano  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  - Helen Coombs  (01:31)
  8. Soneto a manera de dança  - Enríquez de Valderrábano  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:57)
  9. Cinco Diferencias sobre Conde Claros  - Luis Venegas de Henestrosa  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (10:18)
  10. Pavana con su glosa, improvisation after Henestrosa  -  Harp Consort  - Andrew Lawrence-King  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (02:36)
  11. Mundo, qué me puedes dar?, canción  - Luis Venegas de Henestrosa  - Andrew Lawrence-King  - Hille Perl  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (02:56)
  12. Diferencia Sobre "La Gallarda Milanesa" for organ  - Antonio de Cabezón  - Andrew Lawrence-King  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (02:43)
  13. Unum colle Deum, fugue for 40 voices  - Luis Venegas de Henestrosa  - Andrew Lawrence-King  - Andrew Lawrence-King  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (02:02)
  14. Míralo cómo llora, canción  - Luis Venegas de Henestrosa  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:04)
  15. Para discantar  - Enríquez de Valderrábano  - Andrew Lawrence-King  - Lee Santana  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (03:17)
  16. De los álamos vengo, madre, song  - Juan Vasquez  - Andrew Lawrence-King  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:54)
  17. Baxa de contrapunto  - Luys de Narváez  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:25)
  18. Tiento XVIII (after Cabezón)  - Luis Venegas de Henestrosa  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (05:52)
  19. Canto Ilano  -  Plainchant  - Hille Perl  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (00:40)
  20. Duo  - Antonio de Cabezón  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (02:07)
  21. Tres (after Cabezón)  - Luis Venegas de Henestrosa  - Hille Perl  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:39)
  22. Himno a 4 (after Cabezón)  - Luis Venegas de Henestrosa  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (03:05)
  23. Himno de canto Ilano (after Cabezón)  - Luis Venegas de Henestrosa  - Hille Perl  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:53)
  24. Diferencias sobre Guárdame las vacas (Henestrosa's & Narváez's versions)  - Various Composers  - Robina G. Young  - Francisco de Zurbaran  - Steve Player  - Scarlett Freund  (02:58)
  25. Paseávase el rey moro  - Luys de Narváez  - Hille Perl  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (01:05)
  26. Paseábase glosado (after Palero)  - Luis Venegas de Henestrosa  - Andrew Lawrence-King  - Hille Perl  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (00:58)
  27. Final, improvisation after Mudarra, Cabezón & Henestrosa  -  Harp Consort  -  Harp Consort  - Robina G. Young  - Francisco de Zurbaran  - Francisco Zurbaran  - Scarlett Freund  (03:29)

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