Jordi Savall - Bailar Cantando (2018)
Classic | Author: SELMER | 23-04-2019, 06:25
Artist: Jordi Savall
Title Of Album: Bailar Cantando
Year Of Release: 2018
Label: Alia Vox
Country: Spain
Genre: Classical
Quality: FLAC (*image + .cue, log, scans)
Bitrate: Lossless
Time: 1:14:08
Full Size: 464 MB
Track 01: Bayle [de Espadas] con pifano y tamboril, E 179 (5) - “Jarabe Tixtleco”. Son trad. de la region de Guerrero en Mexico.
Track 02: Cachua a voz y bajo Al Nacimiento de Christo Nuestro Senor, E 177 (2) - “Dennos lecencia Senores”
Track 03: Tonada «La Donosa» a voz y bajo, para bailar cantando, E 182 (8) - “A ti donoza te quiero”
Track 04: Tonada «El Tupamaro», E 188 (14) - “Quando la pena en el centro”
Track 05: Bayle «del Chimo» a violin y bajo, E 179 (4)
Track 06: Tonada «El Diamante» de Chachapoias para baylar cantando, E 187 (13) & Tonada «El Tuppamaro» de Caxamarca, E 191 (18) - “Infelizes ojos mios & De los banos donde estuve”
Track 07: Tonada La Lata a voz y bajo, para bailar cantando, E 181 (7) - “Oficiales de marina”
Track 08: Cachua a Duo y a quatro, con violines y bajo Al Nacimiento de Christo Nuestro Senor, E 176 (1) - “Nino il mijor quey logrado”
Track 09: Tonada «El Conejo» a voz y bajo, para bailar cantando, E 183 (9) - “Senor Don Feliz de Soto”
Track 10: Cachua «La Despedida» de Guamachuco, E 191 (17) - “De bronse devo de ser”
Track 11: Tonadilla, llamase «El Palomo», de Lambayaque, para cantar y bailar, E 185 (11) - “Fragancia de los jardines, Samba”
Track 12: Tonada para cantar llamadase «La Selosa», del pueblo de Lambayeque, E 184 (10) - “Alla voi a ver si puedo”
Track 13: Tonada de «El Chimo» a dos voces, Bajo y tamboril, para baylar cantando, E 180 (6) (i.e. de la Cultura chimu, la unica cancion que ha llegado a nuestros dias en el extinto idioma mochica) - “Jaya llunch, Jaya lloch”
Track 14: Tonada «El Congo» a voz y bajo, para baylar cantando, E 178 (3) (Un “negro” cancion de esclavo, reflejando el uso de esclavos africanos en el personal de 1660) - “A la mar me llevan sin tener razon”
Track 15: Tonada «La Brujita» para cantar de Guamachuco, E 190 (16) (i.e. Huamachuco, sitio de misiones agustinianas) - “Desenganado esta ya”
Track 16: Tonada «El Huicho» de Chachapoyas, E 189 (15) (Texto en quechua y castellano) - “Ymapacrach urpi”
Track 17: Cachuyta de «La Montana» llamadas «el vuen querer», E 193 (20) - (El termino “montana” indica las tierras bajas, al este de las montanas) - “De que rigida montana nacistes”
Track 18: Lanchas para baylar, E 186 (12) (El termino “lancha” indica un baile para fidula y continuo, en un rapido compas de 3/4; es casi unica en el Codice.)
Track 19: Cachua Serranita, Nombrada «El Huicho nuebo», E 192 (19) Que cantaron y baylaron “8” pallas del Pueblo de Otusco a N? Senora del Carmen - “No ay entendimiento humano”
Track 20: Variaciones e improvisaciones sobre Cachua Serranita, E 192 (19) (Instr.) - Jordi Savall
Many of Jordi Savall's recordings of older regional repertories involve a good deal of imaginative reconstruction. But Bailar Cantando is based on an actual musical manuscript, the Codex Trujillo. The codex was compiled in Peru in the last quarter of the 18th century by the Bishop of Trujillo, Balthasar Jaime Martinez Companon, who may have notated the music himself. An accompanying volume of drawings shows that the musical scores leave much out: many instruments of Indian origin were used, for instance, but Martinez Companon includes only a few, and Savall restores a few more. Nevertheless, enough was transmitted to make possible the realization of some extraordinary music. The texts alone (given in the original mixture of languages, modern Spanish, Catalan, Italian, German, French, and English) are worth the price of admission alone: the languages represented include Spanish, Quechua, Aymara, the extinct Mochica and Culle, and bits of African languages, with riotous texts alternating among sexuality, often interracially oriented, religiosity, and gloom. For the music, Savall draws on his own Hesperion XXI instrumental ensemble and Capella Reial de Catalunya singers, plus, as with several of his other releases, a regional group, the Tembembe Ensamble Continuo, which includes Amerind instruments. The music, in a way unique to Peru, reflects Indian European, and African elements, including a remarkable reminiscence of the experience of being seized as a slave (sample the Tonada El Congo). But much of the music, as in other cases where Savall has explored African influences, is joyous. Bailar Cantando means Dance While Singing, an actual subtitle attached to some of the pieces in the book, and throughout, Savall emphasizes the music's strong rhythmic element that at times sounds remarkably contemporary. The recording and the 248-page booklet (slender by Savall standards) contain much that will compel your frequent return. A standout masterwork, even among Savall's generally magnificent catalog. -- James Manheim

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