Celebrando a Carlos Patiño (1600-1675)
Sedem (Sociedad Española de Musicología) , 2000.
Córo de Cámara de la Schola Cantorum de la ULPGC
Organ: Helmut Perl
Bajón: Stephan Schader
Violone 16′ : Christiane Gerhardt y Niklas Trüstedt
Cello: Pedro Ruiz
Theorbo: Samuel Manzano
Main soloist: Estefanía Perdomo
Conductor: Emilio Tabraue
“ The religious work of Patiño, is mostly religious and centered basically in his masses. It is organized in a big ammount of pieces for the Hours Liturgy, or for the Officium Defunctorum; processions and other religious acts. In this recording we want to offer a short and variated demonstration of his pieces, but without any ambition of building a concrete liturgic opus. We have selected only a dozen of pieces divided in two blocks: five of them related to the Holy Sacrament, all around the Corpus Christi celebrations; and five dedicated to the Holy Virgin Mary. Both blocks are preceded with introductions of ” villancicos generales”, composed by Patiño without a main advocacy. In these works normally the name of the saint did not appear, or a portion of the text, in order to adapt the piece to any occasion. Of course that in this program both works are dedicated by us to their own composer, because we are celebrating at the moment of the recording the Fourth Centenary of his birth”
El Lirio de los Valles
(Música del Archivo de la Catedral de Las Palmas, S.XVII-XVIII)
La Rampa Music (2010)
Capilla del Real de Las Palmas
Isabel Álvarez, soprano
Estefanía Perdomo, soprano
César Carazo, tenor
Robert Kortlang, bass
Ramsés Puente, violin
Lixsania Fernández, viola da gamba
Ximo Martínesz percussion
Sergio Alonso, organ
Vicent Bru, hapsichord
Juan Carlos de Mulder, archlute and baroque guitar
Carlos Oramas, baroque guitar , theorbo and director.
“The Capilla del Real de Las Palmas is a group that appears in Las Palmas de Gran Canaria for the rescue, transcription and interpretation of the religious music composed by the Chapel masters of the Cathedral in Las Palmas.
Its members have a long career in the Early Music World, collaborating with ensembles of first level, like Hesperión XXI, la Capilla Reial de Catalunya, Capilla Peñaflorida, Al Ayre Español, Xácara, Accentus-Wien, El Concierto Español, Ensemble Elyma, la Capilla Compostelana, la Colombina, Camerata Ibérica.
They have performed with the most prestigious conductors, like Jordi Savall, Eduado López Banzo, Miro Moreira, Fabio Bonizonni, Gabriel Garrido and Fabio Biondi, among others.”
Contact: email@example.com +34629480621 +34609459670
Mare Liberum. Aliud (2013)
Estefanía Perdomo, soprano
Frans Fiselier, bariton
Daan Admiraal, conductor
Haags ToonKunstkoor – Hans Sachs Chor
VU – Orkest
“Mare Liberum, by The Hague composer Roel van Oosten, was commissioned by the Haags ToonkunstKoor and premiered in 2009 to commemorate the fourth hundredth anniversary of the publication of the treatise of the same name by Hugo Grotius, in 1609. Grotius’ Mare Liberum contains important initial principles of international law.
[…] Hugo Grotius most likely had no thoughts of music while writing tihs juridical texts and it is a major challenge for a composer to set this sort of work to music. The sacred character of the texts (being in Latin, at the time the universal juridical language) demands music that does justice to the objetivity and abstract nature of the words. Roel van Oosten opted for “a sound picture”, and sometimes reminescent of minimalist music techniques, if somewhat freely applied. He faithfully follows the cadence of the text in the oratorio. The abstract question of a free sea is translated into the fundamental questions about war and peace, something that is extremately relevant even today”
Canciones de Cámara Españolas (1801-1850)
Sedem (Sociedad Española de Musicología), 2015
Estefanía Perdomo, soprano
Sophia Unsworth, fortepiano and piano
Víctor Landeira, romantic guitar
“The first half of 19th century was one of the most convulsive periods of Spain’s History. The Independence War, the begging of the Independence of the colonies, the creation of the first constitution in 1812, the Trienio Liberal and the later restauration of Fernando VII are some of the facts that mark the artistic creation of the beggining of the century. Despite of this complicated situation, a true musical Romanticism was born in Spain, through the composers condemned to the exile for their political ideas, who received influences from the greatest composers of the period; and through those who rested at the country growing the folk musical forms, reaching high levels of artistic quality. This music is unfortunately unknown for the public, and nevertheless had a great success in Europe at its time, being edited and premièred in several countries.
The work of deciding the pieces and composers for this Project was indeed hard and complicated, because there are so many big quality songs. Quality is one of the selection criteria, but also we considered the relevance of certain composer or pieces at its time; it is a matter or historial justice to reflect on this CD the work of those who gained success and popularity at their momento. But overall, the principal objetive of this Project is to show the work of a number of high level composers who had a great influence at the later music, and who remained forgotten nowadays; their works are unknown even for music profesionals. These pieces are the base of the most important Spanish liric gender, the zarzuela; and also the Spanish song of 20th century; these genders could not exist without the music, critic and investigation of these composers”