Ana Beard Fernández, Roderick Williams, The Endellion Cellists, William Vann - Habanera (2025) [Hi-Res]
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BAND/ARTIST: Ana Beard Fernández, Roderick Williams, The Endellion Cellists, William Vann
- Title: Habanera
- Year Of Release: 2025
- Label: SOMM Recordings
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:01:48
- Total Size: 267 mb / 1.0 gb
- WebSite: Album Preview
Tracklist
01. Bachianas brasileiras No. 5, W389: No. 1, Ária
02. Bachianas brasileiras No. 5, W389: No. 2, Dança
03. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 1, El paño moruno
04. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 2, Seguidilla murciana
05. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 3, Asturiana
06. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 4, Jota
07. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 5, Nana
08. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 6, Canción
09. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 7, Polo
10. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 1, Cuba dentro de un piano
11. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 2, Punto de habanera
12. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 3, Chévere
13. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 4, Canción de cuna para dormir un negrito
14. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 5, Canto negro
15. Vocalise-étude en forme de habanera, M. 51 (Arr. for Soprano & Cello Ensemble by Roderick Williams)
16. Yo soy la locura (Arr. for 2 Voices & Chamber Ensemble by Ana Beard Fernández)
17. So el encina (Arr. for 2 Voices & Chamber Ensemble by Ana Beard Fernández)
18. Negra sombra (Arr. for 2 Voices, Recorder & Chamber Ensemble by Ana Beard Fernández)
19. 14 Romances, Op. 34: No. 14, Vocalise (Arr. for Voice & Chamber Ensemble by Roderick Williams)
20. 6 Spanish Songs, Op. 100: No. 1, Proshchai, Grenada! (Arr. for Voice & Chamber Ensemble by Ana Beard Fernández)
21. Les Indes galantes, RCT 44: Forêts paisibles (Arr. for 2 Voices, Recorder & Chamber Ensemble by Ana Beard Fernández)
Multi-part music for the same instrument, dating back to Elizabethan viol consorts, remains outside the typical orchestral repertoire nowadays, but, as ever, SOMM remains true to its stellar reputation for presenting rare and singular releases. Habanera, Music for Eight Cellos and Voice is a joyous recording that grew out of a collaboration between baritone Roderick Williams, cellist Joely Koos—joint Artistic Directors for the 2023 Endellion Summer Music Festival—and British-Spanish soprano, Ana Beard Fernandez. Together, they devised a concert featuring cello ensemble and voice.
Now, SOMM presents the formidable Endellion Cellists, together with Ana and Roderick, in a recording of these two artists’ uniquely colourful arrangements. The musicians are led by award-winning choral, orchestral, and operatic conductor William Vann. As an added bonus, Roderick Williams plays eighth cello, and recorder player Iain Hall joins the artists as fifth cello for this recital of shared pleasure and palpable fun.
The programme opens with the most famous original composition for cello ensemble and voice: Bachianas Brasileiras No. 5 for soprano solo and eight cellos by Heitor Villa-Lobos. The cycle of Siete Canciones Populares by Manuel de Falla is his most-arranged composition and one of the most frequently performed sets of Spanish-language art songs.
The best-known works by Spanish composer Xavier Montsalvatge are born of his fascination for the music and poetry of Antilles and the West Indies. His Cinco Canciones Negras came out of this aesthetic, and are among the finest examples of late twentieth-century Spanish art-song.
The individual songs that make up the second half of this recital include the haunting Vocalise-étude en forme de Habanera by Maurice Ravel, who was born in the Basque country near the Spanish border. Three varied songs collected as Tres Canciones include Yo Soy La Locura (I am the Madness) by the seventeenth-century French composer Henri du Bailly; an anonymous song, So el Encina (‘Neath the Holly Oak); and Negra Sombra (Dark Shadow) from Six Galician Ballads by the nineteenth-century Spanish composer Xoan Montes.
Two twentieth-century Russian songs are the much-transcribed Vocalise by Sergei Rachmaninoff, the last of his 14 Songs or 14 Romances, Op. 34; and a relatively unknown gem by Dmitri Shostakovich, Proshchaj, Grenada! (Farewell, Granada!) from his Spanish Songs, Op. 100.
By way of a rambunctious encore, the recital closes with the duet, Forêts paisibles (Peaceful forests) by the eighteenth-century French master Jean Philippe Rameau from his opera-ballet Les Indes Galantes.
01. Bachianas brasileiras No. 5, W389: No. 1, Ária
02. Bachianas brasileiras No. 5, W389: No. 2, Dança
03. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 1, El paño moruno
04. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 2, Seguidilla murciana
05. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 3, Asturiana
06. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 4, Jota
07. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 5, Nana
08. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 6, Canción
09. 7 Canciones populares españolas (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 7, Polo
10. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 1, Cuba dentro de un piano
11. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 2, Punto de habanera
12. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 3, Chévere
13. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 4, Canción de cuna para dormir un negrito
14. 5 Canciones negras (Arr. for Voice & Chamber Ensemble by Roderick Williams): No. 5, Canto negro
15. Vocalise-étude en forme de habanera, M. 51 (Arr. for Soprano & Cello Ensemble by Roderick Williams)
16. Yo soy la locura (Arr. for 2 Voices & Chamber Ensemble by Ana Beard Fernández)
17. So el encina (Arr. for 2 Voices & Chamber Ensemble by Ana Beard Fernández)
18. Negra sombra (Arr. for 2 Voices, Recorder & Chamber Ensemble by Ana Beard Fernández)
19. 14 Romances, Op. 34: No. 14, Vocalise (Arr. for Voice & Chamber Ensemble by Roderick Williams)
20. 6 Spanish Songs, Op. 100: No. 1, Proshchai, Grenada! (Arr. for Voice & Chamber Ensemble by Ana Beard Fernández)
21. Les Indes galantes, RCT 44: Forêts paisibles (Arr. for 2 Voices, Recorder & Chamber Ensemble by Ana Beard Fernández)
Multi-part music for the same instrument, dating back to Elizabethan viol consorts, remains outside the typical orchestral repertoire nowadays, but, as ever, SOMM remains true to its stellar reputation for presenting rare and singular releases. Habanera, Music for Eight Cellos and Voice is a joyous recording that grew out of a collaboration between baritone Roderick Williams, cellist Joely Koos—joint Artistic Directors for the 2023 Endellion Summer Music Festival—and British-Spanish soprano, Ana Beard Fernandez. Together, they devised a concert featuring cello ensemble and voice.
Now, SOMM presents the formidable Endellion Cellists, together with Ana and Roderick, in a recording of these two artists’ uniquely colourful arrangements. The musicians are led by award-winning choral, orchestral, and operatic conductor William Vann. As an added bonus, Roderick Williams plays eighth cello, and recorder player Iain Hall joins the artists as fifth cello for this recital of shared pleasure and palpable fun.
The programme opens with the most famous original composition for cello ensemble and voice: Bachianas Brasileiras No. 5 for soprano solo and eight cellos by Heitor Villa-Lobos. The cycle of Siete Canciones Populares by Manuel de Falla is his most-arranged composition and one of the most frequently performed sets of Spanish-language art songs.
The best-known works by Spanish composer Xavier Montsalvatge are born of his fascination for the music and poetry of Antilles and the West Indies. His Cinco Canciones Negras came out of this aesthetic, and are among the finest examples of late twentieth-century Spanish art-song.
The individual songs that make up the second half of this recital include the haunting Vocalise-étude en forme de Habanera by Maurice Ravel, who was born in the Basque country near the Spanish border. Three varied songs collected as Tres Canciones include Yo Soy La Locura (I am the Madness) by the seventeenth-century French composer Henri du Bailly; an anonymous song, So el Encina (‘Neath the Holly Oak); and Negra Sombra (Dark Shadow) from Six Galician Ballads by the nineteenth-century Spanish composer Xoan Montes.
Two twentieth-century Russian songs are the much-transcribed Vocalise by Sergei Rachmaninoff, the last of his 14 Songs or 14 Romances, Op. 34; and a relatively unknown gem by Dmitri Shostakovich, Proshchaj, Grenada! (Farewell, Granada!) from his Spanish Songs, Op. 100.
By way of a rambunctious encore, the recital closes with the duet, Forêts paisibles (Peaceful forests) by the eighteenth-century French master Jean Philippe Rameau from his opera-ballet Les Indes Galantes.
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