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Madrid Atrium Musicae: Three Centuries of La Spagna

1/28/1987, 32 Tracks, 1:11:52

Featuring

  • Gregorio Paniagua
  • Jacobo Durán-Loriga
  • Máximo Pradera
  • Atrium Musicae de Madrid
  • Francesco da Milano
  • Michael Praetorius
  • Francisco de la Torre
  • Carlo Verardi
  • Joan Ambrosio Dalza
  • Hans Kotter
  • Hans Buchner
  • Giles Farnaby
  • Juan del Encina
  • Anonymous (15th century)
  • Magister Gulielmus
  • Anonymous
  • Hans Weck
  • Anonymous (17th century)
  • Cesare Negri
  • Josquin des Prez
  • Diego Ortiz
  • Giovanni Maria Trabaci
  • Francis Pilkington
  • Gaspar Sanz
  • Hans Judenkönig
  • Antonio de Cabezón
  • Fabritio Caroso
  • Anonymous (16th century)

Did you know?

1/7

Historical Context

The division of Europe into apparently fixed states with independent histories is a thoroughly modern invention, as nations like Germany, France, or Italy are relatively modern.

Source: Booklet

Recording & Production

This recording was made in April 1980 at the Chapel of the Imperial College from the 17th century in Madrid, Spain, using Sennheiser MKH 105 microphones and a Revox A-77 tape recorder.

Source: Booklet

Cultural Impact

Spain's economic and political ascendancy, following its American conquests, decisively influenced art, leading to increasingly homogeneous musical forms across Europe.

Source: Booklet

Compositional Technique

The album's program is built around three 'Spanish' musical elements that spread throughout Europe and were adopted by composers in many different countries.

Source: Booklet

Interpretation

Gregorio Paniagua, the performer, scored the works for a large assortment of period instruments, along with some sound-making artifacts not invented at the time, like a plastic beaker.

Source: Booklet

Historical Context

During the Renaissance, artistic and cultural exchange among European countries reached its peak, driven by matrimonial ties among ruling families and subsequent events.

Source: Booklet

Composition History

La Spagna became the most famous melody of its period, often used as a cantus firmus, a fixed voice in complex multi-voice musical works.

Source: Booklet

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©℗ 1986 BIS