With a capaciously-filled boxset of a dozen CDs made up of attractive individual programmes and entitled The Spanish Guitar, Glossa reintroduces the superb playing of José Miguel Moreno. And with recordings from 1991-2004 which still sound fresh and vivid today. A new essay and all the sung texts are included in the physical booklet that completes this limited-edition set.
The vihuela is not a viol, it is a sort of lute. Vihuela and lute coexisted in Spain but the composers wrote only for the former. The works played in this recording were mainly published between 1535 and 1554; Daza's book (1576) and a collection of other authors (1593) mark the end of the era of the vihuela. Then the instrument lent its shape to the guitar, as you can infer from the cover of the CD.
The last decade or so has seen the blossoming of a new generation of vocal talents from Spain, many of whom have been expressing their art through early music. A leading figure in this artistic array has been the soprano Nuria Rial, a singer blessed with an unaffected declamatory style, sweet and yet intimate in its emotional charm. In recent years the career of Rial has seen her tackle with success music by Bach, Handel, Mozart, Haydn, as well as Pergolesi and much Italian seicento repertoire. This newly-prepared Glossa album turns the clock back to collect together recordings made by the fresh voice of the Catalonian soprano in the years immediately following her studies at the Musik-Akademie in Basel.
Frank Wallace’s skill at performing self-accompanied songs is unusual and unsurpassed in the classical world. The Spanish repertoire he presents on this recording ranges from earthy to suave and sophisticated…one of the best vihuelists working today…Wallace also sings…no mean feat when one considers the polyphonic nature of the vihuela accompaniments…His renditions of fantasías by Narváez, other instrumental works, and song accompaniments are exemplary, bringing the kind of polish to the music that must have been prized in the Spanish noble houses.
Savall and Hesperion XXI often return to the same material, almost obsessively; yet this repertory - the interface of early Iberian art music and the traditional - sustains endless re-visiting and re-interpretation; there can never be one definitive interpretation of this endlessly rewarding music, as Renaissance and Baroque composers knew - producing as they did endless variations on traditional themes which had woven their way from the popular sphere to the realm of 'art' music. Some of these bass melodies are presented here - the 'Follia' and 'Canaries' -and it is wonderful that Savall has the artistic freedom to perform versions of these again and again on his own label, Alia Vox.