Hirviendo el Mar: Spanish Baroque Vocal Music Vandalia & Ars Atlántica

• 1En una Concha de Venus04:52
• 2Heridas en un Rendido07:32
• 3Venid a Ver una Boda05:38
• 4Huyendo Baja un Arroyo05:08
• 5Qué Festivo el Arroyuelo04:52
• 6No Quiero Más Burlas, Juana04:47
• 7Florecitas Que al Alba Salís06:08
• 8Los Ojos Negros de Juana04:51
• 9Hirviendo el Mar de Enemigos03:12
• 10No Cantéis, Dulce Ruiseñor03:52
• 11Salió a la Fuente Jacinta07:00
• Total Runtime57:52

Info for Hirviendo el Mar: Spanish Baroque Vocal Music

They are sung pieces, in verse and vernacular language, known in that period as human tones (or just tones) when they were profane, and divine tones when they were religious. Those composed in the first half of the 17th century were mostly polyphonic, which reveals that, in this period, polyphony was still thought to be the highest and most prestigious. The Book of Human Tones, preserved at present at the National Library of Spain under the signature M 1262, constitutes, with its 222 works, a privileged sample of all the aspects. Who might be interested in these works has now the possibility to listen to them in a retrained performance on four voices with harp accompaniment, one of the instruments used in this repertoire. If, on the one hand, the vocal quartet shows that the “grace notes” (“quiebros”) and voice effects do not constitute an impediment for the care of tuning, on the other hand the harp adds to the score beautiful introductory and transition passages based on the features of passacaglias and 17th century dances.

Rocío de Frutos, treble
Verónica Plata, treble
Gabriel Díaz, alto
Víctor Sordo, tenor
Javier Cuevas, bass
Manuel Vilas, double harp (arpa de dos órdenes)

The Ars Atlántica
ensemble made its début at the III Via Stellae Santiago de Compostela music festival. Founded and directed by the Galician harpist Manuel Vilas, the ensemble focuses on Spanish, Portuguese, Italian and Latin American music of the seventeenth and eighteenth centuries. It was at this festival that Ars Atlántica gave the première performance of cantatas for alto and continuo that had been found at the Palazzo Contarini in Piazzola sul Brenta (Padova), following the ensemble’s extended work on their transcription, revision and correction. The recording of these cantatas for Enchiriadis, with the mezzo-soprano Marta Infante, was rewarded with the Prelude Classical Music award in Holland. The Ars Atlántica complete recording of the hundred songs contained in the seventeenth-century Spanish Guerra Manuscript has been made in collaboration with the Via Stellae festival, Radio Galega and Naxos.

Booklet for Hirviendo el Mar: Spanish Baroque Vocal Music