Programmes 2025/2026
I Programme – A solo
ARS LACHRIMAE
D. Buxtehude - Suite in D minor BuxWV 236
J. J. Froberger - Suite No. 18 in G Minor, FbWV 618
Henry Purcell - Suite in D minor
Robert de Visée - Suite in D
J.S. Bach - Suite BWV 997
II Programme – Barroco Ortodoxo
1. CONCERTO PER LIUTO
A. Vivaldi - Concerto per Liuto n.º 9 D mayor, RV 230
A. Marcello - Concerto per Liuto in D minor
J. S. Bach - Concerto per Liuto No. 3 in D major, BWV 1054
G.F Handel - Concerto per Liuto in F major, Op. 4, HWV 293
A. Vivaldi - Concerto per Liuto in D Mayor RV 93
Total time: 65 min
All transcriptions by Enrike Solinís
2. IN FURORE
J. B. Lully - Suite de danzas de El burgués gentilhombre
A. Vivaldi - Motete In furore iustissimae irae, RV 626
A. Vivaldi - Concerto para laúd, RV93
M. Marais - Suite de danzas de la Opera Alcione
G. F. Handel ) - Ariodante HWV 33
III Program – Spanish Music
1. GOYA – a portrait through music
DE FUENDETODOS A ROMA Gaspar Sanz - Marionas y Canarios
Luigi Boccherini -Musica notturna delle strade di Madrid Op 30 no6. G. 324
Fernando Sor - Seguidillas Boleras
Mis descuidados ojos De amor en las prisiones Las mujeres y cuerdas
LENTA ESCALADA HACIA EL ÉXITO
Franz Joseph Haydn - Cassation en Do Mayor Presto Minuetto Adagio Finale
UNA CARRERA TRUNCADA:LA GUERRA Y LA SORDERA
Fernando Sor - Seguidillas Boleras - Los canónigos Madre Muchacha y la vergüenza Si dices que mis ojos
DE MADRID A BURDEOS: EL EXILIO FINAL
Luigi Boccherini - Fandango G 448
Jose de Nebra - Tempestad grande, amigo
Cast :
Maria Jose Pérez Cantaora
Miren Zeberio Violín Barroco
Helena Zemanova Violín Barroco
Ricardo Cuende Viola Barroca
Bianca Riesner Violoncello
Laura Asensio Contrabajo
David Chupete Castañuelas
Enrike Solinís Guitarra y Laud
2. TIENTO - Spanish Baroque & Renaissance music
P. Attaignant - Pavane
Traditional andalucian song/Lorca - Zorongo
M. de Fuenllana - Con que la lavaré
Mss. D. Cantemir - Makam-I Hüseyni Sakil-I Aga Riza – Raiko
Mss. D. Cantemir - Buselik Asirani
.....
Venecia siglo XVI - Pavana/Gallarda/Sarabanda/Saltarello
C. De Upsala XIV.th - Falalanlera
….
Luis de Milán - Pavana y Gallarda
Traditional Andalucian Song/Falla - Cancion del amor dolido
P Phalèse/ Herrikoia - Quatre branles les fagots-Arratiako Dantzak
Anónimo/Luis de Narváez ca. 1500-1552 - Guárdame las Vacas - Rodrigo Martínez
…..
G. Sanz - Marionas eta Chaconna
Traditional andalucian song/Falla - Fuego fatuo
Traditional - Urruska Fandango eta Porrue
G. Sanz - Canarios
Juan de Hidalgo - Trompicábalas
Cast :
Maria José Pérez Cantaora
Miren Zeberio baroque violin and rebec
Pablo Martín Caminero Violone
David Mayoral percussion
Enrike Solinís baroque guitar, lavta, guitern and artistic director
IV. Program - Mediaval y tradicional ( Savall stile)
1.SUBH
Since first learning about Subh’s story some years ago, we have nurtured the idea of devoting a monographic project to this historical character. She lived in a fascinating period,
the Middle Ages, which was rich in sights and sounds as attractive to us as they are unfamiliar. As is so often the case, this initial attraction led to a huge task of musical and historical research, and that is precisely what we have tried to condense and capture in this CD-book.
Yet, as we examine ever more closely the figure of Subh the Basque through the texts and iconography, we find that a veil of hypocrisy and literary veneer overlay the criminal and degrading treatment of a real woman who was abducted, raped, abused, exploited, humiliated and perhaps even murdered… Such was the reality of Subh and of thousands of other women who, throughout the centuries and even in the present day, have been treated as merchandise or chattels in this world.
Cynicism, for example, is what we find in the institutions when they fail to recognise that, whether they like it or not, much of the early history of Spain was written in Arabic. We are Arabs, Christians, Jews, agnostics… we are all of that and none of that. Among other things, by turning our backs on part of ourselves and on our history, for example, the number of translations of texts of our medieval literature from their original Arabic is ridiculously small. Information about our past has yet to be translated and disseminated.
2. MARE CANTABRICUM
Since time immemorial, the different peoples of the north of the peninsula have developed a common culture around the Cantabrian Sea. Galicians, Asturians, Cantabrians and Basques, although they have different characteristics, share a philosophy of life, ancient beliefs, spiritual thought, myths and a large number of customs. On an artistic level, music, instruments and artistic themes in general have maintained a constant relationship throughout the centuries. The culture of the North, due to its geographical characteristics, preserved different cultural elements such as language, instruments or dances in a singular and different way to the cultures of the peoples around the Mediterranean.
The peoples of the Cantabrian coast received the European currents at first hand through the Pilgrim’s Way of Santiago and the relations that the sea offered them with the peoples of Northern Europe, the Mediterranean and the American continent.
It is precisely the modern era, with the search for new trade routes and intercontinental discoveries, which made the peoples near the Atlantic the protagonists of a whole era that began in the Middle Ages.
Our choice of music to illustrate this diversity is based on different main sources :
- the oral traditions of each region: Basque, Asturian, Leonese, Cantabrian, Burgos and Galician.
- The manuscripts in the codices of the Middle Ages and Renaissance, Codex Huelgas, Martin Codax, Cantigas de Santa Maria, Codice Trujillo, Codice de Rota and Cancionero de Palacio as well as the popular songbooks,
- as well as the improvisations developed from popular themes such as romances or Sephardic melodies inherited in the popular repertoire.
All this presented with the instruments, melodies and rhythms typical of the peoples of the of the North of Spain.
V. ALSO POSSIBLE after request
1. COLORES DEL SUR
The case of the Guitar – and, specially its Baroque Spanish and Italian repertory which forms the basis of this recoding – is particularly revealing. This is an instrument which had a very strong personality in popular music in the 17th century – by virtue of specific techniques and resources which, undoubtedly, were also used in learned music. Yet, from the beginnings of the 20th century the new conservatory tradition handed it over to mindsets attuned to the piano, which suceded in driving the classical guitarist away from the instrument’s original spirit. So, it is not surprising that a flamenco guitarist, for example, often is possessed of a palette of colours and resources, and a more open approach to the question of sound than the best guitarists of the classical repertory.
2. EUSKEL ANTIQVA - Legacy of the land of Basque
Kontrapas/ Contrapás - Tradicional s. XV / Bernard Detxepare, Linguae Vasconum Primitiae ( 1545)
Perutxoren kanta/ Cantar de Peruchol - Cancionero de Iztueta/ Gaspar Gómez, Tercera parte de la tragicomedia de Celestina (1536)
Adarraren Sagarraren - Tradicional
Pavana - Gallarda -Branle de Champagne - Claude Gervaise / Tradicional
Urrutiko kantorea - Tradicionales del s. XVI, recogidas en Zuberoa
Bralea - Tradiconal s. XVI
Efthah ´ na sé fathay (Maitia nun zira) - Tradicional
Urruska Fandanfo/ Ternuako porrue - Tradicional
Sibilaren Profezia/ Profecía de la Sibila
Joanes Etxeberri “Ziburukoa”, Mendoza (Alava), segunda mitad del siglo XII.
Pelegria naiziela - Tradicional
Con amores, la mi madre - Danza tradicional del s. XV / Juan de Anchieta (Azpeitia 1462-Azpeitia 1523), Cancionero de Palacio,
Koumis- Ezpatadantza - Irani/Vasca
Ave Sanctissima Maria Juan de Anchieta (Azpeitia 1462-Azpeitia 1523), Cancionero de Segovia.
3. EL AMOR BRUJO
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