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Léon Berben|Tientos, Pasacalles y Gallardas

Tientos, Pasacalles y Gallardas

Joan Cabanilles

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Joan Cabanilles worked for most of his life in Valencia, whose magnficent cathedral was a reminder of that trading city's glorious past. Organist Léon Berben plays an organ not in that cathedral, but an instrument in Basque country from the middle of the eighteenth century. It's a magnificent choice, and this collection of Cabanilles organ pieces would be worth the money for the graphic design alone. Check the booklet cover reproduction of the screaming faces painted on some of the organ pipes, for a start. Annotator Miguel Bernal Ripoll, whose words appear in English, French, Spanish, and German, writes that "Cabanilles appears like a Janus-headed deity with one face turned toward the past and the other definitely towards the future." This is true only in the sense in which people used to regard Gesualdo's music as modern because it was frequently dissonant. In fact, if you can imagine Gesualdo as having lived in Spain and worked as an organist, you have an idea of what the music here sounds like: it is dense, richly murky, rather tortured, and yet with extreme contrasts and bright flashes of color. The Tiento XIV partit de mà dreta de clarins (track 12) is in a military style called battalha, with trumpets and martial arpeggios seemingly ringing out over the usual polyphonic texture. The "brass" stops of Berben's organ are spectacular, with the sudden contrasts they introduce into the music beautifully engineered throughout. This is an organ disc that will make even the casual listener sit up and take notice. Most of the music is designed with the genre names of Passacalle or Tiento; the passacalles are basically the passacaglias of Baroque keyboard tradition, interpreted by Cabanilles for maximum chromaticism, but the tientos are harder to pin down; the word denotes the presence of imitative polyphony, but not much more than that, and the sizable pieces recorded here have an absorbing free-fantasy quality. Suffice it to say that the general listener interested in learning more about Spanish music of the late Baroque will find this a very satisfying package, inside and out.
© TiVo

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Tientos, Pasacalles y Gallardas

Léon Berben

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Gaitilla (Juan Cabanilles)

1
Gaitilla
00:05:39

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento I de falsas (Juan Cabanilles)

2
Tiento I de falsas
00:06:03

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento LXXVIII (Juan Cabanilles)

3
Tiento LXXVIII
00:05:56

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Pasacalles I (Juan Cabanilles)

4
Pasacalles I
00:03:17

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Pasacalles II (Juan Cabanilles)

5
Pasacalles II
00:05:18

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento LIII de falsas (Juan Cabanilles)

6
Tiento LIII de falsas
00:07:16

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento XIII de dos Tiples y dos Baixos (Juan Cabanilles)

7
Tiento XIII de dos Tiples y dos Baixos
00:03:17

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Gallardas II (Juan Cabanilles)

8
Gallardas II
00:09:35

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento XXIII por A la mi re (Juan Cabanilles)

9
Tiento XXIII por A la mi re
00:06:39

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento XXIV lleno (Juan Cabanilles)

10
Tiento XXIV lleno
00:05:07

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento IV partido demano derecha sobre Ave Maris Stella (Juan Cabanilles)

11
Tiento IV partido demano derecha sobre Ave Maris Stella
00:08:01

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Tiento XIV partit demà dreta De clarins (Juan Cabanilles)

12
Tiento XIV partit demà dreta De clarins
00:07:16

Léon Berben, organ by Lorenzo de Arrázola (1761),San Martín de Tours, Ataun (Spain)

2008 Aeolus 2008 Aeolus

Album Description

Joan Cabanilles worked for most of his life in Valencia, whose magnficent cathedral was a reminder of that trading city's glorious past. Organist Léon Berben plays an organ not in that cathedral, but an instrument in Basque country from the middle of the eighteenth century. It's a magnificent choice, and this collection of Cabanilles organ pieces would be worth the money for the graphic design alone. Check the booklet cover reproduction of the screaming faces painted on some of the organ pipes, for a start. Annotator Miguel Bernal Ripoll, whose words appear in English, French, Spanish, and German, writes that "Cabanilles appears like a Janus-headed deity with one face turned toward the past and the other definitely towards the future." This is true only in the sense in which people used to regard Gesualdo's music as modern because it was frequently dissonant. In fact, if you can imagine Gesualdo as having lived in Spain and worked as an organist, you have an idea of what the music here sounds like: it is dense, richly murky, rather tortured, and yet with extreme contrasts and bright flashes of color. The Tiento XIV partit de mà dreta de clarins (track 12) is in a military style called battalha, with trumpets and martial arpeggios seemingly ringing out over the usual polyphonic texture. The "brass" stops of Berben's organ are spectacular, with the sudden contrasts they introduce into the music beautifully engineered throughout. This is an organ disc that will make even the casual listener sit up and take notice. Most of the music is designed with the genre names of Passacalle or Tiento; the passacalles are basically the passacaglias of Baroque keyboard tradition, interpreted by Cabanilles for maximum chromaticism, but the tientos are harder to pin down; the word denotes the presence of imitative polyphony, but not much more than that, and the sizable pieces recorded here have an absorbing free-fantasy quality. Suffice it to say that the general listener interested in learning more about Spanish music of the late Baroque will find this a very satisfying package, inside and out.
© TiVo

Details of original recording : 87:23 - DDD - Enregistré le 19 et 20 octobre 2007 - Notes en français, anglais, allemand et espagnol

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