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Артист: Various Artists Название: Jacaras! 18th Century Spanish Baroque Guitar Music Жанр: Classical Год выхода: 1998 О музыке:
Paul O'Dette, Pat O'Brien, Steve Player, baroque guitars;
Andrew Lawrence-King, harp, psaltery;
Pedro Estevan, percussion
Harmonia Mundi 907212 (CD). 1998. DDD. TT: 78:21
01 - Jacaras por la E
02 - La Jota
03 - Marizapalos
04 - Gallardas
05 - Tarantelas
06 - Preludio Grabe
07 - La Cadena
08 - Una Giga de Corelli
09 - Zarambeques
10 - Passacalles por la E
11 - Fandango
12 - Mariones por la B
13 - Cumbees
14 - Payssanos
15 - Folias Ytalianas
16 - Las Penas
17 - Allegro
18 - Grabe
19 - Allegro
20 - Otros canarios21 - Canarios
Santiago de Murcia was probably born in Madrid around 1682. It is not known where or when he died, but he led an active life. He
studied guitar with Francisco Guerau between 1690 and 1700, traveled with King Philip V to Naples (where he probably met Scarlatti and Corelli), was
Guitar Master to Queen Maria Luisa Gabriela of Savoy, and probably traveled to Mexico around 1720. "Probably" because, while his name appears on no
travel documents, the three surviving collections of his guitar music were found in Mexico, and his works appear in several Mexican sources.
What is certain is de Murcia's fascination with a wide variety of musical styles he composed works in the styles of Italy, Spain, France, Mexico,
and even West Africa. This gives Jacaras! a variety unusual in an instrumental collection dedicated to a single composer. Most of the pieces here are
bailes, a dance form introduced in the early 17th century, but the spirited fandangos, exotic cumbes (introduced to Mexico by West African slaves),
and jotas add spice and fire to the proceedings.
For all of the foreign influences in these compositions, no one listening to this disc could mistake it for anything but Spanish. All of the elements
that have come to typify our romantic notion of Spanish guitar music already exist in de Murcia: the plucked line (punteado) alternating with the
strummed (rasgueado) chorus; the slurred estrasinos and the bell-like campanelas; and that most Iberian of effects, the percussive golpe.
Paul O'Dette seems as much at home on baroque guitar as he does on lute that is to say, it's difficult to imagine this music played any
better. Andrew Lawrence-King's harp and psaltery add beautifully bright contrast to the mellow sound of the guitar, and the two musicians seem to
frolic as they trade melodic lines back and forth.
Hesperion XX's Pedro Estevan adds percussion as necessary: hand-claps, foot stamps, castanets, and tambourine. He's tasteful and very
tuneful; this would be a much less exciting recording without him. Pat O'Brien and Steve Player, from the Harp Consort, add guitar support in the
ensemble portions, and pull off the rather nifty trick of reinforcing the guitar sound without blurring it.
As good as the music and performances on Jacaras! are, it is the sound of this disc that makes it so very special. The guitars and harp are recorded
with extraordinary warmth and clarity in a beautifully engaging acoustic, Holland's Valkkoog Church. Estevan's percussion reveals it to be a
large hall with an extremely clean decay. It sounds clear and articulate, and supports the delicate sound of the guitars without interfering with the
rhythmic momentum of the dances.