{"id":42345,"date":"2010-05-01T13:32:12","date_gmt":"2024-10-08T22:17:20","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=42345"},"modified":"2024-10-09T00:17:21","modified_gmt":"2024-10-08T22:17:21","slug":"cancionero-de-la-colombina-ensemble-glosas","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/cancionero-de-la-colombina-ensemble-glosas\/","title":{"rendered":"Cancionero de la Colombina – Ensemble Glosas"},"content":{"rendered":"

Cancionero de la Colombina<\/strong> : Anonymous:<\/strong> 57 Propi\u00f1\u00e1n de Melyor – Juan de TRIANA:<\/strong> 91 Juyzio Fuerte Ser\u00e1 Dado – Anonymous:<\/strong> 73 Juyzio Fuerte Ser\u00e1 Dado – 52 Olvida tu Perdi\u00e7i\u00f3n – (sin t\u00edtulo) [I] – Juan de TRIANA:<\/strong> 89 Aquella Buena Mujer – 88 Por Bever, Comadre – 71 La Mo\u00e7a Que Las Cabras Cr\u00eda – Juan CORNAGO:<\/strong> 14 Qu’es Mi Vida Pregunt\u00e1ys – Anonymous:<\/strong> 95 No Tenga Con Vos Amor – 16 Mis Tristes Sospiros – Francisco de la TORRE:<\/strong> 48 Dime, Triste Cora\u00e7\u00f3n – Enrique [Foxer]:<\/strong> 2 Pues Con Sobra De Tristura – Anonymous:<\/strong> 51 Pensamiento, Ve Do Vas – 31 Mirando, Dama Fermosa – (sin t\u00edtulo) [II] – Juan de TRIANA:<\/strong> 66 Deus in adjutorium – 70 Pinguele, Rrespinguete – Anonymous:<\/strong> 79 Dic nobis, Mar\u00eda (I) – 78 Ay, Santa Mar\u00eda, Valedme – 79 Dic nobis, Mar\u00eda (II) – 55 O Gloriosa Domina – 79 Dic nobis, Mar\u00eda (III) – 75 Qu\u00e9 Bonito Ni\u00f1o Chiquito – Juan de TRIANA:<\/strong> 90 Dinos, Madre Del Donsel – Anonymous:<\/strong> 72 A Los Maytines.<\/p>\n

Ensemble Glosas :<\/strong>
\nMarie-Claude Vallin – Guillemette Laurens – Josep Benet – Ariane Maurette – Sabine Weill – Eug\u00e8ne Ferr\u00e9 – Gabriel Garrido – Maria Cristina Kiehr – Sigrid Lee – Heidi Rosenzweig – Laurent Aubert – Luca Bonvini.<\/strong><\/p>\n

\n

At the end of the XVth century, Spain stands at the crossroads of History. Leaving deep marks in the Iberian soul, the triple civilization (Judaic, Arabian, Christian) is coming to its end. In 1492, the \u00abCatholic Kings\u00bb, Fernando de Aragon and Isabel de Castilla, seize Granada, the last Arabian stronghold on the Peninsula, and also reunify Spain after seven centuries of struggle for freedom and conflict of belief. The same year signals the beginning of a new era for civilization. The discovery of America by Christopher Columbus in the Catholic Kings\u2019 service, and the great adventure deriving from it, place Spain at the head of the European states.<\/p>\n

The Cancionero of the Biblioteca Colombina in Sevilla, a manuscript from the end of the XVth century, illustrates musically the national spirit developing among the Spaniards. In this anthology of chansons and romances, \u00abCantilenas vulgares puestas en musica por varios Espa\u00f1oles\u00bb<\/em>, a truly Spanish style begins to separate itself from the Dutch style which dominated the musical taste of this period. The Franco-Netherlandish influence on polyphony loses ground before the simplicity of the new Spanish chanson: using popular forms and themes and homophonic writing, Spanish musicians prefer to arouse deep aesthetic emotions with a minimum of technical complexity. Thus, the choice of profoundly moving poetical texts for the love songs (the greatest part of this collection) contributes to the creation of a typically national \u00abgenre\u00bb of chanson, different from the Franco-Netherlandish chanson in fashion at the court of Burgundy.<\/p>\n

This Cancionero, more than the famous Cancionero de Palacio, stands at the turning point of two periods: pieces of strict polyphony (Qu\u2019es mi vida preguntays<\/em>) appear side by side with Christmas songs of extreme simplicity; the resolutely \u00abrenaissance\u00bb character of the one style (Dime triste cora\u00e7on<\/em>) contrasts with the cadences in thirds of the other, more ancient one. There is also a difference in the disposition of the parts and the instrumentation: in the contrapuntal pieces, the top part bears the words while the lower parts are instrumental; on the other hand, in the more homophonic songs, all the parts can be sung with the text; other pieces have different texts meant to be sung at the same time by two singers, in the manner of an \u00abensalada\u00bb (La mo\u00e7a que las cabras cria<\/em>); they sometimes associate a religious and a secular text (Retorno a lo divino<\/em>). All this gives a great variety to the Cancionero; it has allowed us to divide it into six principal themes, five of which (leaving out the religious polyphony) build the various groups on this record.<\/p>\n

Among the 95 or so pieces of this anthology, we find more than 40 songs of love and sadness, ten with an ironical or satirical text, a dozen dedicated to the Virgin and the Child, twelve in Latin, some pieces of an epic character and seven without any text, probably instrumental ones. Most of the compositions are in three parts, the four parts being reserved for the solemn pieces (religious or epic) or for the later ones, written in the homophonic style (Pensamiento, ve do vas<\/em>).<\/p>\n

The composers of the Cancionero, except Ockeghem (co-author with Cornago of \u00abQu\u2019es mi vida preguntays\u00bb<\/em>) and Urrede, are all Spanish. The most prolific is Juan de Triana, represented by twenty compositions (seven on this record) and whose importance here can be compared to that of Juan del Encina in the Cancionero del Palacio<\/em>. Enrique, Francisco de la Torre and the anonymous writers, who have given us beautiful love songs, complete the list of composers.<\/p>\n

We have chosen the instrumentations in relation to the character of the pieces and their social function. The \u00abunmixed consort\u00bb linked to polyphony is a characteristic feature of the XVIth century, while the flexibility of the three parts in our Cancionero requires very often the use of different \u2013 though related \u2013 instruments. Thus for the love chansons we play on the low instruments: vihuela de arco, viols, lutes, harps and recorders, while the high instruments \u2013 shawms, sackbutt and organ \u2013 take their part in religious festivities and important events, following a practice common all through the XVth century.<\/p>\n

On the eve of the Renaissance, the Cancionero de la Colombina is a Spanish picture of European music; it announces the growth of Spain and her national music, which is to reach its climax in the next century, taking a place of honour in Music History.<\/p>\n

Gabriel Garrido<\/em>
\nTranslated by Ariane Maurette<\/em><\/p>\n

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The ensemble Glosas was created in 1980 in Geneva on the impulse of four musicians united by an identical passion for music from the XVth and XVIth centuries: A. Maurette, S. Weill and G. Garrido, all of whom hold diplomas from the S.C.B., and E. Ferr\u00e9, who was winner of the Concours International de Guitare de l\u2019O.R.T.F. before specializing in lute-playing.<\/p>\n

Very soon, the collaboration of M. Cl. Vallin, J. Benet, and G. Laurens, experienced singers of the new generation used to the style of “ancient music”, allowed the group access to a diversified and complete repertory. Glosas has performed with success in Switzerland, France, the Netherlands, and Italy, offering its different programs: li Gieus de Robin et Marion<\/em>, the Chanson and the diminution<\/em>, il madrigale concertato<\/em>, the Cancionero de la Colombina<\/em>, and Ludwig Senfl<\/em>.<\/p>\n

The name of the group comes from the term \u201cglosa\u201d (from the Greek word glossa<\/em> = language), which means explaining a text to render it intelligible; “glosa” was used by the Spaniards in the Renaissance to describe the ornamenting technique called “diminution” (which consists of dividing one long note into many brief notes); this technique is of fundamental importance for the interpretation of music from the XVth and XVIth centuries. The aim pursued by the ensemble Glosas is to “commentate” this music, to refresh a text by giving it the richness of ornamentation and the liberty of interpretation inherent to the gloss. Using the present knowledge that has been gained in this field and the most recent research on instrumentation, Glosas tries with enthusiasm to recover this language, which has become essential to the comprehension of our cultural patrimony.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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