{"id":6692,"date":"2026-10-27T14:06:17","date_gmt":"2026-10-27T14:06:17","guid":{"rendered":"https:\/\/accademiaclub.com\/album\/album-colombina-2\/"},"modified":"2026-10-27T14:06:17","modified_gmt":"2026-10-27T14:06:17","slug":"album-colombina","status":"publish","type":"album","link":"https:\/\/accademiaclub.com\/en\/album\/album-colombina\/","title":{"rendered":"Colombina"},"content":{"rendered":"

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Accademia del Piacere immerses itself in the study and performance of one of the most famous yet most overlooked manuscripts from its own city: the Cancionero de la Colombina. This remarkable musical manuscript, which contains almost a hundred pieces, was compiled in the 15th century for the Dukes of Medina Sidonia and later acquired by Hernando Col\u00f3n (Ferdinand Columbus), son of Christopher Columbus, for his impressive library. Today, it is kept in a building adjoining Seville Cathedral. Fahmi Alqhai and his ensemble perform a selection of its works with the vocal and instrumental forces for which the music was written, using replicas of period instruments.<\/p>\n\n\n\n

Undoubtedly one of the great musical monuments of the Spanish Renaissance, the Cancionero de la Colombina was very probably copied at the ducal court of Medina Sidonia, whose Seville residence stood very close to the central Plaza del Duque. For five centuries the manuscript has been held in the Colombina Library, one of the most important in Europe historically, housed in a building adjoining Seville Cathedral. Compiled in the years surrounding the discovery of America, the book was acquired in 1534 by the founder of the Colombina collection, Hernando Col\u00f3n (Ferdinand Columbus), Columbus\u2019s son and an extraordinary bibliophile. It contains almost a hundred pieces from the distinctive 15th-century Andalusian school, many of them still anonymous today and others identified as the work of Juan de Triana \u2013 a musician linked to the chapel of the ducal house \u2013 Juan Cornago and other composers of the time. <\/p>\n\n\n\n

Exquisitely written, the manuscript is of enormous importance as the main source of the distinctive 15th-century Sevillian school of polyphony, linked to the city\u2019s immense cathedral, then under construction, where the aforementioned Juan de Triana worked. Most of the pieces are written for three voices and are marked by that peculiar Andalusian style. It was clearly influenced by the international style that emanated from the Franco-Flemish school of polyphony (indeed, the manuscript includes pieces by Ockeghem and Urrede), but it has unique features: its own musical forms \u2013 such as villancicos in their original, typically Spanish secular form \u2013 and a passionate character explicitly acknowledged by other European composers of the time. The manuscript gains further cultural value from the crucial historical moment Seville was living through: from the city, which would thereafter hold the monopoly on trade with the Americas, its musical style would radiate to all the colonies.<\/p>\n\n\n\n

Rarely performed and even more rarely recorded, this music was the focus of a project, supported by a BBVA Foundation Leonardo Grant, whose aim was the historical recovery of this Sevillian Renaissance gem. That is why it is especially rewarding for the members of Accademia del Piacere and for their director, Fahmi Alqhai.<\/p>\n\n\n\n

Juan Ram\u00f3n Lara<\/p>\n\n\n

\"\"<\/figure>\n\n\n
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Fahmi Alqhai \u2014 <\/strong>violino da gamba, viola da gamba & direction
<\/em>Alena Dantcheva \u2014 <\/strong><\/strong>soprano
<\/em>Gabriel D\u00edaz \u2014 <\/strong>countertenor
<\/em>Ariel Hern\u00e1ndez \u2014 <\/strong>tenor
<\/em>Jes\u00fas Garc\u00eda Ar\u00e9jula \u2014 <\/strong>baritone
<\/em>Javier Jim\u00e9nez Cuevas \u2014 <\/strong><\/strong>bass
<\/em>Rami Alqhai \u2014 <\/strong><\/strong>viola da gamba<\/em>
Johanna Rose \u2014 <\/strong><\/strong>viola da gamba<\/em>
Carles Blanch \u2014 <\/strong><\/strong>vihuela<\/em>
Marta Graziolino \u2014<\/strong><\/strong>harp<\/em>
Francisco Javier N\u00fa\u00f1ez \u2014 <\/strong><\/strong>organ<\/em>
Pedro Estevan \u2014 <\/strong><\/strong>percussion<\/em>
Jacobo D\u00edaz \u2014 <\/strong><\/strong>shawm<\/em>
David Garc\u00eda \u2014 <\/strong><\/strong>sackbut<\/em>
Luis Castillo \u2014 <\/strong><\/strong>dulcian<\/em>

Recording and editing: F\u00e9lix V\u00e1zquez<\/p>\n\n\n\n

<\/p>\n<\/div><\/div><\/div>\n\n\n\n

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1. Praeludium-La Spagna<\/strong>
Anonymous & Fahmi Alqhai<\/p>\n\n\n\n

2. Salve Sancta Parens<\/strong>
Anonymous<\/p>\n\n\n\n

3. Nunca fue pena mayor<\/strong>
Urrede<\/p>\n\n\n\n

4. Commo no le andare yo<\/strong>
Anonymous<\/p>\n\n\n\n

5. Propi\u00f1an de Melyor<\/strong>
Anonymous<\/p>\n\n\n\n

6. Gentil Dama<\/strong>
Anonymous<\/p>\n\n\n\n

7. Quien vos dio tal se\u00f1or\u00edo<\/strong>
[Juan de] Triana<\/p>\n\n\n\n

8. Calbidi Castigliano + Folia<\/strong>
Joan Ambrosio Dalza & Fahmi Alqhai<\/p>\n\n\n\n

9. Con temor bivo<\/strong>
[Juan de] Triana<\/p>\n\n\n\n

10. Muy crueles bozes dan<\/strong>
Anonymous<\/p>\n\n\n\n

11. Interludium-Ave Maris Stella<\/strong>
Jacob Obrecht (Cancionero de Segovia) & Fahmi Alqhai<\/p>\n\n\n\n

12. A los maytines era<\/strong>
Anonymous<\/p>\n\n\n\n

13. Que bonito ni\u00f1o chiquito<\/strong>
Anonymous<\/p>\n\n\n\n

14. Los hombres con gran plazer<\/strong>
Anonymous<\/p>\n\n\n\n

15. Pues con sobra de tristura<\/strong>
Enrique<\/p>\n\n\n\n

16. Ni\u00f1a y vi\u00f1a<\/strong>
Anonymous<\/p>\n\n\n\n

17. Postludium-La Spagna, otro g\u00e9nero de contrapunto<\/strong>
Anonymous & Fahmi Alqhai<\/p>\n\n\n\n


<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n

Track notes <\/h2><\/div>\n\n\n\n
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1. Praeludium – La Spagna<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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As an instrumental introduction to the programme, Fahmi Alqhai arranges the plainchant known as La Spagna<\/em>, writing polyphonic voices over it for Renaissance ensemble, following the practices of the instrumentalists of the time.<\/p>\n\n\n\n

Hispalis splendens<\/em>
Magna Musica.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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2. Salve Sancta Parens<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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This Salve, dedicated, of course, to the Virgin Mary, is one of the few sacred pieces in the Cancionero de la Colombina and also one of the few written in four voices.
<\/p>\n\n\n\n

Salve sancta parens,<\/em>
ennyxa pu\u00e9rpera regem<\/em>
qui celum teramque regit<\/em>
in s\u00e9cula seculorum.<\/em><\/p>\n\n\n\n

Virgo Dei, in tua se clausit\u00a0<\/em>
viscera factus homo.<\/em>
Gloria… Sicut erat in principio<\/em>
[et nunc, et semper, et in saecula]<\/em>
saeculorum. Amen.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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3. Nunca fue pena mayor<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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The Flemish composer Juan de Urrede, or Johannes de Wreede (c. 1430 \u2013 after 1482), spent much of his life in Spain. This song, the most famous of his works, survives in many 15th-century manuscripts; indeed, its fourth voice here is based on the one preserved in the Verona manuscript (Italy).<\/p>\n\n\n\n

Nunca fue pena mayor<\/em>
ni tormento me faze ver<\/em>
por mejor la muerte\u00a0\u00a0<\/em>
tan estra\u00f1o, con menor da\u00f1o<\/em>
que el tormento con el dolor<\/em>
que res\u00e7ibo del enga\u00f1o.<\/em><\/p>\n\n\n\n

Y este conos\u00e7imiento\u00a0<\/em>
en pensar el pensamiento<\/em>
faze mis vidas tristes,<\/em>
que por amores me distes.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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4. Commo no le andare yo<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Today\u2019s word \u201cvillancico\u201d comes from \u201cvillanesca\u201d, which in turn refers to pieces such as this typical example of a secular work from the Colombina manuscript: with racy lyrics and a rustic, \u201cvillana\u201d setting, it describes an encounter in the countryside between a girl and a shepherd, who ends up shouting out for all his belongings.<\/p>\n\n\n\n

Commo no le andare yo<\/em>
mesquina<\/em>
tan desmayada<\/em><\/p>\n\n\n\n

Dixo la ni\u00f1a al pastor<\/em>
miras pastor que tetas<\/em>
dixo el pastor a la ni\u00f1a<\/em>
\u00a1mas me querria dos setas!<\/em><\/p>\n\n\n\n

\u00a1\u2026mi \u00e7urron mi \u00e7amarr\u00f3n<\/em>
mi cayada mi almarada<\/em>
y mi yesca y mi eslab\u00f3n!<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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5. Propi\u00f1an de Melyor<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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One of the best-known pieces in the Cancionero de la Colombina is this highly unusual instrumental dance, a rare example of the genre, since the \u201cministriles\u201d, or instrumentalists, usually played music written for voices.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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6. Gentil Dama<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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The probable composer of this work is Juan Cornago (c. 1400 \u2013 after 1475), possibly from La Rioja, a musician in the chapel of Alfonso the Magnanimous of Aragon. Besides the Colombina, the piece is also found in the Cancionero de Palacio.<\/p>\n\n\n\n

Gentil dama, non se gana<\/em>
otro bien de vos mirar,<\/em>
sy no ver y desear.<\/em><\/p>\n\n\n\n

El deleyte que se faze,<\/em>
mirando vuestra beldat,<\/em>
notando vuestra bondat.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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7. Quien vos dio tal se\u00f1or\u00edo<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Juan de Triana (1460-1494), or simply \u201cTriana\u201d in the manuscript, is in all likelihood the compiler of the Cancionero de la Colombina for the ducal house of Medina Sidonia. From the Seville district of Triana, as his surname would suggest, he was a musician at Seville Cathedral and at the same time served the ducal chapel.<\/p>\n\n\n\n

\u00bfQui\u00e9n vos dio tal se\u00f1or\u00edo,<\/em>
que, s\u00f3lo que vos mire<\/em>
mi libertad cative,<\/em>
que sea vuestro y no m\u00edo?<\/em><\/p>\n\n\n\n

Esto caus\u00f3 fermosura<\/em>
que quiso que vuestro fuese.<\/em>
Eso mesmo la mesura<\/em>
dio favor que me prendiese.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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8. Calbidi Castigliano + Folia<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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As an interlude, Fahmi Alqhai arranges other Renaissance instrumental dances similar to the Propi\u00f1an<\/em> from the Cancionero, such as a dance by the Italian composer Dalza or the anonymous fol\u00eda.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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9. Con temor bivo<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Juan de Triana (1460-1494), a musician regularly listed on the Seville payrolls of the House of Medina Sidonia, is the most frequent composer in the Colombina manuscript, with twenty works, among them this simple three-voice villancico.<\/p>\n\n\n\n

Con temor bivo, ojos tristes,<\/em>
a la dicha que ten\u00e9ys<\/em>
que nunca m\u00e1s os ver\u00e9ys<\/em>
tan ledos como vos vistes.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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10. Muy crueles voces dan <\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Politics and political events in Catalonia are also present in the Cancionero de la Colombina, in the form of a villancico with a concordance in the Cancionero de Palacio (thanks to which we can reconstruct the complete lyrics).<\/p>\n\n\n\n

Muy crueles bozes dan<\/em>
catalanes blasfemando:<\/em>
\u00a1Fuera, fuera, duque Juan,<\/em>
que es casado el Rey Fernando!<\/em><\/p>\n\n\n\n

Torna, torna, Bar\u00e7elona,\u00a0<\/em>
a tu se\u00f1or natural<\/em>
[Fran\u00e7ia juega dedos val:<\/em>
\u00a1Sus, e mate por la dona!<\/em><\/p>\n\n\n\n

Correos vienen, correos van<\/em>
por todo’l mundo gritando:\u00a0<\/em>
\u00a1Fuera, fuera, duque Juan,<\/em>
que es casado el Rey Fernando\/]<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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11. Interludium-Ave Maris Stella<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Although Jacob Obrecht (1458-1505) was born in Ghent, his music is found in Spanish Renaissance manuscripts such as the Segovia songbook, and here Alqhai uses it as a new interlude between the works of the Colombina.<\/p>\n\n\n\n

Ave, Maris Stella, Dei Mater alma,<\/em>
Atque semper virgo, Felix coeli porta.<\/em>
Solve vincla reis, Profer lumen caecis,<\/em>
Mala nostra pelle, Bona cuncta posce.<\/em>
Virgo singularis, Inter omnes mitis,<\/em>
Nos culpis solutos, Mites fac et castos.<\/em>
Sit laus Deo Patri, Summo Christo decus,<\/em>
Spiritui Sancto, Tribus honor unus.\u00a0 Amen.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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12. A los maytines era<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Taking this piece from the Colombina together with Commo no le andare yo<\/em>, we can follow the journey of the word \u201cvillancico\u201d: from denoting pastoral works with a rustic (\u201cvillano\u201d) setting, it came to mean Christmas songs, like this charming piece devoted to the motherhood of the Virgin Mary. Like other villancicos of the period, both pieces share a similar form, including a short choral refrain.<\/p>\n\n\n\n

A los maytines era,<\/em>
antes era del alba,<\/em>
que la Virgen para ella<\/em>
verificara.<\/em><\/p>\n\n\n\n

Nueve meses avya<\/em>
que la Virgen sagrada<\/em>
al su fijo traya<\/em>
en el seno en\u00e7errada.<\/em><\/p>\n\n\n\n

Desque fue allegada<\/em>
la ora del esperan\u00e7a,<\/em>
pari\u00f3 sin dudan\u00e7a<\/em>
al qu’el mundo fiziera<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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13. Qu\u00e9 bonito ni\u00f1o chiquito<\/strong>
<\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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What is striking about this further Christmas villancico from the Colombina is its modernity, both in its subject matter and in a melodic line that feels strangely close, almost familiar.<\/p>\n\n\n\n

\u00a1Qu\u00e9 bonito
Ni\u00f1o Chiquito!<\/p>\n\n\n\n

Pariendo la virgen,
dos buenas mugeres
serv\u00edan al parto 
y faz\u00edanle plazeres
al ni\u00f1o.<\/p>\n\n\n\n

Desque lo ovo parido
la virgen con prudencia,
luego lo adoraron,
d\u00e1ndole rreveren\u00e7ia
al ni\u00f1o.<\/p>\n\n\n\n

La Virgen Mar\u00eda,
como era mo\u00e7uela,
ci\u00f1\u00f3lo cuerdamente 
con una faxuela
al ni\u00f1o.<\/p>\n\n\n\n

\u00c1ngeles del \u00e7ielo
muy dul\u00e7e cantavan
\u00abGloria in excelsis Deo\u00bb. 
Asy lo acallavan
al ni\u00f1o.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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14.  Los hombres con gran plazer<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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Much of the Colombina manuscript consists of anonymous three-voice villancicos in a typically Andalusian style, including the strong influence of the Franco-Flemish musicians that had spread throughout Europe. This is a perfect example.<\/p>\n\n\n\n

Los hombres con gran plazer<\/em>
no saben qu\u00e9 se fazer.<\/em><\/p>\n\n\n\n

Angeles de alto vi\u00e7io,<\/em>
cada quai de su oficio,<\/em>
fazed al ny\u00f1o servi\u00e7io\u00a0<\/em>
que nos quiso oy nascer.<\/em><\/p>\n\n\n\n

Celestiales cortesanos,<\/em>
industriat con vuestras manos<\/em>
algunos juegos humanos<\/em>
con que lo vamos a ver.\u00a0<\/em><\/p>\n\n\n\n

Y tales fuegos levemos<\/em>
con que todos le alavemos<\/em>
y a una voz le ofrescemos<\/em>
ser de infinito poder.<\/em><\/p>\n\n\n\n

E, porque m\u00e1s le obliguemos,\u00a0<\/em>
a la madre alabaremos,<\/em>
grandes loores le daremos,<\/em>
pues tal fue su merescer.<\/em><\/p>\n\n\n\n

Reyna que tal pariste,<\/em>
D\u00e9l Virgen remanesciste,\u00a0<\/em>
singular plazer sentiste,<\/em>
al tiempo de su nas\u00e7er.<\/em><\/p>\n\n\n\n

Pues de todos eres se\u00f1ora,<\/em>
por nos al tu fijo improva,<\/em>
qu’en el logar donde mora<\/em>
El nos faga renascer.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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15.  Pues con sobra de tristura<\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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The Enrrique<\/em> of the Cancionero de la Colombina refers to Enrique Foxer, also known as Enrique de Par\u00eds (d. 1488), a Frenchman linked to the Aragonese court of whom only two songs survive, both in our manuscript.<\/p>\n\n\n\n

Pues con sobra de tristura<\/em>
distes fin al cora\u00e7\u00f3n,<\/em>
vos le dat la sepultura,<\/em>
Se\u00f1ora, por galard\u00f3n.<\/em><\/p>\n\n\n\n

Vos fuistes la vencedora<\/em>
que crudamente ven\u00e7i\u00f3,<\/em>
vos qued\u00e1ys por matadora<\/em>
de la muerte que’l muri\u00f3,<\/em>
no nos falte compasi\u00f3n.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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16.   Ni\u00f1a y vi\u00f1a<\/strong><\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
\n

Although written for four voices, Ni\u00f1a y vi\u00f1a<\/em> is another of the typical villancicos of the Spanish Renaissance for which the Cancionero de la Colombina is a key source: the last line of each stanza serves as a refrain, its theme is typically amorous, and its Italian equivalents are the villanelle<\/em> and pastorelle<\/em>.<\/p>\n\n\n\n

Ni\u00f1a y vi\u00f1a<\/em>
peral y havar,<\/em>
malo es de guardar.<\/em><\/p>\n\n\n\n

Levant\u00e9me, o madre,<\/em>
ma\u00f1anita trida,<\/em>
fuy cortar la rosa,<\/em>
la rosa florida.<\/em>
Malo es de guardar.<\/em><\/p>\n\n\n\n

Vi\u00f1adero malo<\/em>
prenda me ped\u00eda,<\/em>
dile yo un cordone<\/em>
de la mi camisa.<\/em>
Malo es de guardar.<\/em><\/p>\n\n\n\n

Vi\u00f1adero malo<\/em>
prenda me demanda;<\/em>
yo dile una cinta<\/em>
de la muy delgada.<\/em>
Malo es de guardar.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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17. Postludium – La Spagna, otro g\u00e9nero de contrapunto<\/strong>
<\/strong><\/strong><\/h4><\/div>\n\n\n\n
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The motto of the ducal house of Medina Sidonia, sung over the plainchant of La Spagna, closes this concert programme devoted to the great Renaissance manuscript compiled for that house: the Cancionero de la Colombina.<\/p>\n\n\n\n

Praefere Patriam Liberis<\/em>
Parentem Decet. Amen.<\/em><\/p>\n<\/div><\/div><\/div>\n<\/details>\n\n\n\n

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18. Praeludium – La Spagna<\/strong><\/strong><\/strong><\/strong><\/h4><\/div>\n\n\n\n
<\/stop><\/stop><\/linearGradient><\/defs><\/svg><\/path><\/svg><\/div><\/span><\/div>\n<\/div><\/div>\n<\/div><\/div><\/summary>\n\n\n\n
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As an encore, the concert\u2019s opening piece once more.<\/p>\n<\/div><\/div><\/div>\n<\/details>\n","protected":false},"excerpt":{"rendered":"

Drawing on Luc\u00eda G\u00f3mez\u2019s recent research into the manuscript, Accademia del Piacere revives the historically appropriate instrumentation for the celebrated Cancionero de la Colombina, a hugely important 15th-century manuscript from Seville.<\/p>\n","protected":false},"featured_media":3769,"parent":0,"template":"","estilo":[],"class_list":["post-6692","album","type-album","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/album\/6692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/album"}],"about":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/types\/album"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media\/3769"}],"wp:attachment":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media?parent=6692"}],"wp:term":[{"taxonomy":"estilo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/estilo?post=6692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}