Les Sacqueboutiers, Adriana Fernández, David Sagastume, Víctor Sordo, Daniele Carnovich - Voyage musical en Nouvelle-Espagne sur les traces de Hernán Cortés (2019) [Hi-Res]
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BAND/ARTIST: Les Sacqueboutiers, Adriana Fernández, David Sagastume, Víctor Sordo, Daniele Carnovich
- Title: Voyage musical en Nouvelle-Espagne sur les traces de Hernán Cortés
- Year Of Release: 2019
- Label: Flora
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:03:23
- Total Size: 321 mb / 1.07 gb
- WebSite: Album Preview
Tracklist
01. Sorsayal - Fahuana - Asculo (Ms. 2, 7 and 8 from "Manuscrito de Santa Eulalia, 1556")
02. Venimo con glan contento (Villancico)
03. Batalla de sexto tono
04. A no teneros mi Dios, à 4
05. La guaracha, "Ay, que me abraso, ay"
06. Oh labios decidme vos
07. Tañe Gil tu tamborino, à 6
08. Te re re que za za - y technepa Sacramento (Ms. 6 and 7 from "Manuscrito de Santa Eulalia, 1556")
09. Miserere mei (Ms. 8 from "Manuscrito de Santa Eulalia, 1556") [Instrumental Version]
10. El fiel peso y medida - Sed Miguel fuerza y escut (Ms. 7 from "Manuscrito de Santa Eulalia, 1556")
11. Tarantella
12. No hay que decirle
13. Ven y veraìs, zagalejo
14. Hanacpachap cussicuinin
15. Oy hacemos fiesta (Ms. 1 from "Manuscrito de Santa Eulalia, 1556")
16. Oy sube nuestra Esperanza (Ms. 4 from "Manuscrito de Santa Eulalia, 1556")
17. Si tanta gloria se da victoria quien a vencido (Ms. 7 from "Manuscrito de Santa Eulalia, 1556")
18. Sancta Maria - Dios nimahau (Ms. 6 from "Manuscrito de Santa Eulalia, 1556")
19. Chacona a la vida bona
When, at the end of the year 1518, Fernando Cortés leaves Cuba for an exploratory trip to Mexico, he does not know what he is about to encounter: a civilization entirely different from his own, where relations social, artistic productions, religious rites, the very conception of the world are in a spectacular contrast with European schèmes.
to give an account of this "shock of the conquest" the texts found alternate the points of view: sometimes borrowed from conquistadores companions of Cortes, they are also drawn from the Indian chronicles which told the arrival of the Spaniards and the incomprehension which in has resulted.
This encounter between two worlds has also been musical, as evidenced by the program of this concert which features works composed and performed in New Spain in the 16th century and resulting from Mesoamerican interbreeding. This is the case of the pieces of Gaspar Fernandes (v. 1565-1629), a composer of Portuguese origin. We must also note the pièces extracted from the manuscripts of Santa Eulalia. These sources are invaluable testimonies of the daily musical practice of Guatemalan rurality. Despite the great social and geographical distance that separates them from the production of a Gaspar Fernandes cathedral or a Garcia de Zéspedes, these manuscripts show that deep in the mountains of Central America, local musicians created original works which reflect at the same time the lessons of their Spanish masters and a sensitivity rooted in pre-Columbian culture.
01. Sorsayal - Fahuana - Asculo (Ms. 2, 7 and 8 from "Manuscrito de Santa Eulalia, 1556")
02. Venimo con glan contento (Villancico)
03. Batalla de sexto tono
04. A no teneros mi Dios, à 4
05. La guaracha, "Ay, que me abraso, ay"
06. Oh labios decidme vos
07. Tañe Gil tu tamborino, à 6
08. Te re re que za za - y technepa Sacramento (Ms. 6 and 7 from "Manuscrito de Santa Eulalia, 1556")
09. Miserere mei (Ms. 8 from "Manuscrito de Santa Eulalia, 1556") [Instrumental Version]
10. El fiel peso y medida - Sed Miguel fuerza y escut (Ms. 7 from "Manuscrito de Santa Eulalia, 1556")
11. Tarantella
12. No hay que decirle
13. Ven y veraìs, zagalejo
14. Hanacpachap cussicuinin
15. Oy hacemos fiesta (Ms. 1 from "Manuscrito de Santa Eulalia, 1556")
16. Oy sube nuestra Esperanza (Ms. 4 from "Manuscrito de Santa Eulalia, 1556")
17. Si tanta gloria se da victoria quien a vencido (Ms. 7 from "Manuscrito de Santa Eulalia, 1556")
18. Sancta Maria - Dios nimahau (Ms. 6 from "Manuscrito de Santa Eulalia, 1556")
19. Chacona a la vida bona
When, at the end of the year 1518, Fernando Cortés leaves Cuba for an exploratory trip to Mexico, he does not know what he is about to encounter: a civilization entirely different from his own, where relations social, artistic productions, religious rites, the very conception of the world are in a spectacular contrast with European schèmes.
to give an account of this "shock of the conquest" the texts found alternate the points of view: sometimes borrowed from conquistadores companions of Cortes, they are also drawn from the Indian chronicles which told the arrival of the Spaniards and the incomprehension which in has resulted.
This encounter between two worlds has also been musical, as evidenced by the program of this concert which features works composed and performed in New Spain in the 16th century and resulting from Mesoamerican interbreeding. This is the case of the pieces of Gaspar Fernandes (v. 1565-1629), a composer of Portuguese origin. We must also note the pièces extracted from the manuscripts of Santa Eulalia. These sources are invaluable testimonies of the daily musical practice of Guatemalan rurality. Despite the great social and geographical distance that separates them from the production of a Gaspar Fernandes cathedral or a Garcia de Zéspedes, these manuscripts show that deep in the mountains of Central America, local musicians created original works which reflect at the same time the lessons of their Spanish masters and a sensitivity rooted in pre-Columbian culture.
Year 2019 | Classical | FLAC / APE | HD & Vinyl
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