Per Voi Ardo

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Per Voi Ardo

Carlos Mena has sung for audiences around the world performing in Kontzerthaus in Vienna, Berliner Philarmonie, Theatre Champs Elysees, Teatro Colon in Buenos Aires, Alice Tully Hall in New York, Fisher Symphony Hall in Detroit, Kennedy Center in Washington, Suntory Hall and Opera City Hall in Tokyo, Osaka Symphony Hall, Sydney Opera House, Concert Hall in Melbourne among others under the direction of maestros as R. Jacobs, G. Leonhardt, P. Goodwin, M. Minkowsky, F. Biondi, O. Dantone, A. Marcon, etc.
Manuel Minguillón is in high demand as both continuo and solo player and collaborates with ensembles such us Gabrieli Consort & Players, Monteverdi Choir, English Baroque Soloist, Florilegium, La Nuova Musica, The Kings Singers, Charivari Agreable, Al Ayre español, Nereydas, Vespres d’Arnadi, Impetus, la Orquesta Barroca de Sevilla, Musica Alchemica, Ludovice Ensemble, Accademia del Piacere, La Madrileña, Harmonia del Parnás, Los Afectos Diversos, Tiento Nuevo, Musica Ficta, Concerto 1700 and La Grande Chapelle.

14,95 €

SKU: IBS12021 Categories: , Tag:

Product Description

Per Voi Ardo

Italian Madrigals in the vihuela books

Carlos Mena, countertenor
Manuel Minguillón, vihuela

Per voi ardo presents a large number of Italian madrigals in the form they are preserved in Spain in the vihuela books of Enríquez de Valderrábano (1547), Diego Pisador (1552) and Miguel de Fuenllana (1554). They are complemented by settings by Alonso Mudarra, original compositions like Milán’s, using Italian texts of the same flavour, and with accompaniments that parallel the arranged madrigals in many ways. Some solo works by Mudarra and Fuenllana offer brief momeThe arrangements by Valderrábano, Pisador and Fuenllana, on the other hand, follow exactly the precedent of the 1536 Willaert-Verdelot collection. They are tablature arrangements of the madrigals without modification that are sung in exactly the way that Verdelot and Willaert envisaged. In the absence of parallel sources in Italy, they are important not only as evidence of the spread of this practice to Spain, but also as the main written evidence that confirms a continuing practice of singing arrangements of 1530s madrigals for decades after they first appeared.

Diego Pisador & Adrian Willaert: A quando a quando havea

Enríquez de Valderrábano: Soneto II (solo vihuela)