Milena Velbavintage Girdle In Mauve

Galán of the senses

[La Grande Chapelle during a concert in Oviedo]

not to repeat the story is less instructive: once again, a English composer to emerge from the fog of baroque decadence. For a long time the dominant trend in the international musicology seemed encouraged to think that after the glorious period of Renaissance polyphony, shadows hovered since the early seventeenth century on English music, now converted almost to a wasteland of mediocrity that absolute escaped only some isolated creators. We know

that the reality was much more complex and rich English musical tradition did not vanish as if by magic on the death of Tomás Luis de Victoria. Albert Recasens, like his father before him, he always remembered Angel , working hard to recover much of that memory loss, and hence what is coming out, as the work of many musicologists and performers, habitual residents This page-what out of there, he said, we leave traces of our countrymen who were not of the seventeenth and eighteenth centuries orphans just quality music.

This Cristóbal Galán (c.1625-1684) to the rescue now Lauda is presented, for example, as a musician well beyond the skills of the artisan fair follower of a tradition and a few topics more or less accepted in their time. Originally from a city not known to the Crown of Aragon, Trouser Spaniards went through several centers before finally arriving at the Monastery of Real Madrid (yes, the same who was in Victoria on its expertise as a chapel) in 1667. He kept his position thirteen, and when he had to leave in 1680, it was to replace Francisco Escalada in front of the Chapel Royal, where he remained until his death Galán four years later, no doubt one of the worst financial times history of the institution.

Galán The extraordinary fame that he met in life is completely justified in this work, which is as close to its production of Latin music (psalms, motets, antiphons, sequences, responses), mostly written in the traditional style with polychoral accompaniment of continuous music and the romance language paraliturgical (carols, arias and tunes), which also documents the use of violins and some rhythms resounding popular. In both cases, Galán music is a perfect reflection of the baroque sensibility, which is achieved through the use of musical painting, the use of effects madrigal, that, although sometimes stereotypical, the composer always used with flexibility, tenderness and subtlety sufficient to achieve its ultimate goal: the emotional upheaval through the previous conquest of the senses. La Grande Chapelle, who is still an important base for foreign singers and instrumentalists, stop here, for warmth, detail and depth of expression, one of his best recordings.
[ Diario de Sevilla. 07/02/2011 ]

CHRISTOPHER GALÁN: SONG OF THE SOUL
La Grande Chapelle
Schola Antiqua (director, Juan Carlos Asensio) (in CD1 / 7)
Director: Albert Recasens
María Eugenia Boix
, Anna Dennis, Camille Hesketh Marisu Pavon, sopranos Rosa Dominguez
and Joana Thomé, mezzosopranos
Gabriel Díaz Cuesta, David Allsopp and Daniel Collins, countertenor Nicholas Mulroy
, Simon Wall and Gerardo Lopez Gamez, tenors
Benoît Arnould and Jesus Garcia Aréjula, low

Spissky Bjarte Eike, Peter, Nicholas
Milne violins, viola da gamba
Bárbara Sela, Eligio
Quinteiro downturn,
theorbo and Thomas Joshua Cheatham Pierrefeu,
Siobhan Armstrong violins, harp
Stinders Herman, positive organ

CD 1
Christopher Gallant (c.1625-1684):
1. Laudate Dominum, psalm to 8
2. Stella coeli, motet Our Lady to 8
3. Salve Regina, antiphon to 5
4. Stabat Mater, sequence to 8
5. Sanctissima Ave Maria, motet Our Lady to 8

6. Juan del Vado (c.1625-1691): Work full of first tone

Cristóbal Galán :
7. Ne recorderis, Responsory the dead to 4
8. Credidio, psalm to 8
9. Ascendo ad Patrem meum, responsory for Ascension to 8


CD 2 1. Cherubs of impírea!, Carol of the Blessed Sacrament at 8
2. The brave love, jácara the Blessed Sacrament at 8
3. Arrow Fly!, only Our Lady of the Assumption
4. Listen to two-way Carol of the Blessed Sacrament at 8
5. Beautiful daughter of the sun!, duo and four to the Immaculate Conception to 4
6. Mariposa, do not run the Fire, tune the Blessed Sacrament just
7. Hear logs hear, beasts!, Carol of the Blessed Sacrament at 8
8. Phoenix, burning with love, tone to the Birth of Christ to 4
9. Fountains flattering, duo to the Blessed Sacrament
10. Live to love, Carol the Blessed Sacrament at 3
11. Poison of the senses, human tone duet
12. In the most beautiful light, only the Blessed Sacrament
13. Fear not, not aside, general responsory ---------- 8
LAUDA LAU010
2 CD (Harmonia Mundi ) [44'56''- 53'59'']
Recording: October 2009 and January 2010


Galan: Stabat Mater . [7'39''] La Grande Chapelle. Albert Recasens