Dances like the 'cumbés' on this album originated from the world of slavery, traveling from Africa to America and then to Spain.
Interpretation
This album's approach to Baroque music challenges the 20th-century historically informed performance movement's emphasis on strict objectivity and literal readings of scores.
Instruments
The 'makam' from Dimitrie Cantemir's collection is performed on the 'lavta', a Baroque lute used in the Ottoman Empire that is currently experiencing a revival.
Compositional Technique
Baroque composers, including Bach, used 'bassi ostinati' as starting points for improvisation, which today resemble the bass lines found in blues or street music.
Historical Context
In the 17th century, the distinction between learned and popular music was not as rigid as it is today, with rhythms and forms flowing continuously from the street to the palaces.
Performer Biography
Enrike Solinís, the baroque guitar, theorbo, and lavta player on this album, was first heard by Leo Brouwer accompanying the renowned musician Jordi Savall.
Interpretation
The performers on this album take risks similar to those of earlier centuries, confidently using individual technical resources, adapting pieces to their ensemble, and incorporating folk music elements.
