Alberto Magnuel

Out on Glossa is the first-ever recording of one of the most important preserved dramatic works by one of the major figures of the European full Baroque, José de Nebra: Vendado es Amor, no es ciego, a 1744 summertime zarzuela success in Madrid. Alberto Miguélez Rouco conducts an animated vocal sextet and Los Elementos in a production prepared for and executed under the auspices of the Schola Cantorum Basiliensis. Rather than the moralizing plots of the dramma per musica, zarzuelas focused on tales of love, power and slanging matches between mythological figures with commentary provided by comic frequently bawdy characters.

Out on Glossa is the first-ever recording of one of the most important preserved dramatic works by one of the major figures of the European full Baroque, José de Nebra: Vendado es Amor, no es ciego, a 1744 summertime zarzuela success in Madrid. Alberto Miguélez Rouco conducts an animated vocal sextet and Los Elementos in a production prepared for and executed under the auspices of the Schola Cantorum Basiliensis.

Alberto Iglesias - Hable Con Ella (Talk To Her)
A film by Pedro Almodovar / Score by Alberto Iglesias
EAC+LOG+CUE | FLAC: 303 MB | Full Artwork: 48 MB | 5% Recovery Info
Label/Cat#: Milan # 73138-36005-2 | Country/Year: US 2002
Genre: Latin, Classical, Stage & Screen | Style: Soundtrack, Flamenco, Modern Classical

Longtime Pedro Almodóvar collaborator Alberto Iglesias composed the sad and gentle soundtrack to Talk to Her, the Spanish director's 2002 meditation on loss and loneliness. Aside from the violin and guitar-accented score, there are five vocal tracks sprinkled throughout, most notably "Cucurrucucú Paloma," which is performed by Tropicalia legend Caetano Veloso (who also sings it in the movie). Almodóvar has described this rendition, which he first heard live in Brazil while in support of 1995's The Flower of My Secret, as "stylized, heart-rending, and intimate."…

This recording features a work with a strange coincidence in its compositional process and an astonishing dual authorship. Remarkably, Silvius Leopold Weiss’s Lute Suite SW47 (which he named Suonata) also comes with a violin part that can be played over the top of it, composed by none other than Johann Sebastian Bach. A recent comparison of sources revealed that the harpsichord part in Bach’s Suite for Violin & Harpsichord BWV1025, long considered to be of doubtful attribution, perfectly matches Weiss’s suite. The violin part, meanwhile, was indeed composed entirely by Bach and is an additional melody independent of Weiss’s musical material. It feels almost like a ‘free improvisation’ above the suite and recalls a similar process carried out by Charles Gounod in 1859: his Ave Maria fits over the first Prelude from Bach’s Well-Tempered Clavier BWV846. The sole exception is the Fantasia movement in Bach’s piece, which is not derived from Weiss’s suite, meaning both the violin and harpsichord parts in it are unique to Bach.