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José Miguel Moreno - Canto del cavallero: Music for Vihuela

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Canto del cavallero: Music for Vihuela

Jose Miguel Moreno

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The repertory of the Spanish vihuela from the 16th century remains little investigated, partly because few original instruments exist; when vihuela works appear on recordings they are often played on the lute or guitar. This is a shame, for the instrument has its own sound and a repertory (albeit one that often claimed playability on various instruments) that exploited that sound. The vihuela is large, with six pairs of strings running up a large body and long neck, and the music on this album exploits the instrument's rich sonority and capability for ornamentation rather than the rapid runs, called redobles in Spanish, that are characteristic of music for other plucked stringed instruments. This album was issued in 1992 on the Glossa label; beautifully recorded, it still had little competition when reissued in 2010. Six composers are represented, most of them quite obscure: Luys Venegas de Henestrosa, Miguel de Fuenllana, Diego Pisador, Antonio de Cabezón, Enríquez de Valderrábano, and Luys Milán, and there is one anonymous set of diferencias (variations). The genre situation is fluid in this repertory (for instance, there's some evidence that any work not based on a preexisting vocal model might be considered a "fantasía"), but generally speaking there are three basic types: intabulations of vocal pieces, which might involve elaboration and be called a "glosa" or gloss; diferencias; and dance pieces, often on Italian lute models. The glosas are fancier and more ornamented than you might think; sample Fuenllana's Glosa sobre Tan que vivray (Claudin de Sermisy's Tant que vivray, track 5, for a piece based on a familiar Renaissance song). The diferencias, on the other hand, are reflective and subtle rather than fiery, except for the Cabezón pieces, which were keyboard works, and, though theoretically suited to the vihuela, too, take some doing to play this way. For the casual listener it's a lot of vihuela, but ornamentation and the occasional pungent harmonic detail provide variety. The engineering remains a major strong point; recorded in the Villa Consuelo in the Spanish town of San Lorenzo del Escorial, the vihuela is in an environment close to the ones where the music was originally heard, and it is clear and immdiate without being overbearing. A worthwhile release, especially for those with an interest in this and similar repertories.
© TiVo

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Canto del cavallero: Music for Vihuela

José Miguel Moreno

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Cinco diferencias sobre las vacas (Version for Vihuela) (Luis Venegas de Henestrosa)

1
Cinco diferencias sobre las vacas (Version for Vihuela)
00:04:06

Jose Miguel Moreno, Artist, MainArtist - Luis Venegas de Henestrosa, Composer

(C) 2020 Glossa (P) 2020 Glossa

Pues no me quieres hablar (Version for Vihuela) (Luis Venegas de Henestrosa)

2
Pues no me quieres hablar (Version for Vihuela)
00:02:31

Jose Miguel Moreno, Artist, MainArtist - Luis Venegas de Henestrosa, Composer

(C) 2020 Glossa (P) 2020 Glossa

Cinco diferencias sobre "Conde Claros" (Version for Vihuela) (Luis Venegas de Henestrosa)

3
Cinco diferencias sobre "Conde Claros" (Version for Vihuela)
00:02:14

Jose Miguel Moreno, Artist, MainArtist - Luis Venegas de Henestrosa, Composer

(C) 2020 Glossa (P) 2020 Glossa

Pavana con su glosa "La cara cosa" (Version for Vihuela) (Luis Venegas de Henestrosa)

4
Pavana con su glosa "La cara cosa" (Version for Vihuela)
00:04:25

Jose Miguel Moreno, Artist, MainArtist - Luis Venegas de Henestrosa, Composer

(C) 2020 Glossa (P) 2020 Glossa

Glosa sobre tan que vivray (Miguel de Fuenllana)

5
Glosa sobre tan que vivray
00:05:04

Miguel De Fuenllana, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Fantasia No. 51 "De redobles" (Miguel de Fuenllana)

6
Fantasia No. 51 "De redobles"
00:01:24

Miguel De Fuenllana, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Con que la lavare (Miguel de Fuenllana)

7
Con qué la lavaré
00:03:56

Miguel De Fuenllana, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

De Antequera sale el moro (Miguel de Fuenllana)

8
De Antequera sale el moro
00:02:22

Miguel De Fuenllana, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Morenica dame un beso (Miguel de Fuenllana)

9
Morenica dame un beso
00:03:03

Miguel De Fuenllana, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Dezilde al cavallero que (Diego Pisador)

10
Dezilde al cavallero que
00:01:25

Diego Pisador, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Madona mala vostra (Diego Pisador)

11
Madona mala vostra
00:01:38

Diego Pisador, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

La Cortesia (Diego Pisador)

12
La cortesía
00:01:41

Diego Pisador, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Pavana muy llana para taner (Diego Pisador)

13
Pavana muy llana para tañer
00:02:35

Diego Pisador, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Diferencias sobre "La dama le demanda" (Arr. for Vihuela) (Antonio de Cabezón)

14
Diferencias sobre "La dama le demanda" (Arr. for Vihuela)
00:04:10

Antonio De CABEZON, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Diferencias sobre "El canto del caballero" (Arr. for Vihuela) (Antonio de Cabezón)

15
Diferencias sobre "El canto del caballero" (Arr. for Vihuela)
00:03:41

Antonio De CABEZON, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Soneto No. 22 "Lo que queda es lo seguro" (Enriquez de Valderrábano)

16
Soneto No. 22 "Lo que queda es lo seguro"
00:00:50

Enriquez de Valderrabano, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Soneto No. 27 (Enriquez de Valderrábano)

17
Soneto No. 27
00:02:26

Enriquez de Valderrabano, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Soneto No. 8 (Enriquez de Valderrábano)

18
Soneto No. 8
00:01:58

Enriquez de Valderrabano, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Canción No. 7 "A mi sufle" (Enriquez de Valderrábano)

19
Canción No. 7 "A mi sufle"
00:02:43

Enriquez de Valderrabano, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Fantasia No. 8 (Luis De Milan)

20
Fantasía No. 8
00:02:28

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Fantasia No. 12 (Luis De Milan)

21
Fantasía No. 12
00:02:34

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Fantasia No. 1 (Luis De Milan)

22
Fantasía No. 1
00:01:55

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Quie amores ten (Luis De Milan)

23
Quie amores ten
00:02:26

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Falai miña amor (Luis De Milan)

24
Falai mina amor
00:01:08

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Fantasía No. 11 (Luis De Milan)

25
Fantasía No. 11
00:03:18

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Pavana No. 4 (Luis De Milan)

26
Pavana No. 4
00:02:05

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Pavana No. 5 (Luis De Milan)

27
Pavana No. 5
00:02:19

Luis de Milán, Composer - Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Diferencias sobre las vacas

28
Diferencias sobre las vacas
00:02:23

Jose Miguel Moreno, Artist, MainArtist

(C) 2020 Glossa (P) 2020 Glossa

Album Description

The repertory of the Spanish vihuela from the 16th century remains little investigated, partly because few original instruments exist; when vihuela works appear on recordings they are often played on the lute or guitar. This is a shame, for the instrument has its own sound and a repertory (albeit one that often claimed playability on various instruments) that exploited that sound. The vihuela is large, with six pairs of strings running up a large body and long neck, and the music on this album exploits the instrument's rich sonority and capability for ornamentation rather than the rapid runs, called redobles in Spanish, that are characteristic of music for other plucked stringed instruments. This album was issued in 1992 on the Glossa label; beautifully recorded, it still had little competition when reissued in 2010. Six composers are represented, most of them quite obscure: Luys Venegas de Henestrosa, Miguel de Fuenllana, Diego Pisador, Antonio de Cabezón, Enríquez de Valderrábano, and Luys Milán, and there is one anonymous set of diferencias (variations). The genre situation is fluid in this repertory (for instance, there's some evidence that any work not based on a preexisting vocal model might be considered a "fantasía"), but generally speaking there are three basic types: intabulations of vocal pieces, which might involve elaboration and be called a "glosa" or gloss; diferencias; and dance pieces, often on Italian lute models. The glosas are fancier and more ornamented than you might think; sample Fuenllana's Glosa sobre Tan que vivray (Claudin de Sermisy's Tant que vivray, track 5, for a piece based on a familiar Renaissance song). The diferencias, on the other hand, are reflective and subtle rather than fiery, except for the Cabezón pieces, which were keyboard works, and, though theoretically suited to the vihuela, too, take some doing to play this way. For the casual listener it's a lot of vihuela, but ornamentation and the occasional pungent harmonic detail provide variety. The engineering remains a major strong point; recorded in the Villa Consuelo in the Spanish town of San Lorenzo del Escorial, the vihuela is in an environment close to the ones where the music was originally heard, and it is clear and immdiate without being overbearing. A worthwhile release, especially for those with an interest in this and similar repertories.
© TiVo

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