Torres del Alma - Spanish Consort Music The Bassano Quartet

• 1Riu, riu, chiu01:31
• 2Amor con Fortuna01:30
• 3Con amores, la mi Madre02:00
• 4Pase el agua, ma Julieta - Oy comamos y bebamos02:25
• 5Danza Alta03:11
• 6Ay triste que vengo02:23
• 7Triste Espagna01:45
• 8Ay linda Amiga!02:42
• 9Diferencias sobre la Pavana Italiana01:58
• 10Pavana con su glosa02:10
• 11Sancta et immaculata virginitas05:10
• 12Una Canzon Francese doulce memoire02:57
• 13Dulce memoire (glosado a cuatro)03:02
• 14Niño Dios d'amor herido02:22
• 15Desde las torres del alma02:45
• 16Hespañoleta02:12
• 17Tiento XVII De Pange Lingua punto alto03:45
• 18Tiento de Segundo tono03:50
• 19Un Sarao de la Chacona01:31
• 20Canto llano de la Inmaculada de la Virgen Maria (todo el mundo en general)03:13
• 21Folías con 20 diferencias05:12
• Total Runtime57:34

Info for Torres del Alma - Spanish Consort Music

How do you create sounds from Spain in the 15th-17th century? The instruments of the Bassanos originate from a time when people still listened more to their souls and less with the idea that the brain is the centre of their existence. These widely drilled, slightly conical flutes with a flair at the bottom were built by the Bassano family, at first in their hometown Bassano near Venice and later from 1531 in England, until far into the 17th century. In 1568 the Spanish court bought a set of “flautas” from the Bassanos. Probably because at that time they were known as the best builders of these recorders and there were no workshops in Spain.

By making copies of the original Bassano recorders and searching for the perfect balance in every piece, we tried to bring this Spanish 15th, 16th and 17th century music back to life. The enormous sub-Contra bass of three meters is also based on one of the Bassano flutes. We used this flute in “Desde las torres del alma”. These deep sounds make you contemplate to climb the towers of your soul. As the contemporary writer Teresa de Avila beautifully described in her “Interior Castillio”, the path to your “inner castle”.

The Dream Recorders we play in the ‘Folias con 20 Differentias’ are based on the flutes of Schnitzer, a competitor of the Bassanos in Nuremberg. By using special techniques in the bore and some modern keys these recorders can be played with ‘modern’ (actually invented in the Baroque!) fingering. The Eagle G alto, which can be heard on this CD in “Danza Alta”, is one of the archaic prototypes and is based on the search for sounds in wide bore flutes. From this recorder originates the loud modern Eagle F alto with an octave key and keys on the foot.

A surprising program with different styles from the Middle Ages to contemporary repertoire.

'...I have to recommend, among some very fine playing indeed, two particular highlights which brings out the absolute best in the Bassano Quartet: Encin’s Triste que vengo and Sancta etimmaculata virginitas by Morales. The recorded sound is first-class.' (Ivan Moody, Gramophone)

Adriana Breukink, recorder
Ronald Moelker, flute
Saskia Teunisse, block flute
Wolf Meyer, recorder

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