{"id":6698,"date":"2026-10-27T14:06:34","date_gmt":"2026-10-27T14:06:34","guid":{"rendered":"https:\/\/accademiaclub.com\/album\/rediscovering-spain-2\/"},"modified":"2026-10-27T14:06:34","modified_gmt":"2026-10-27T14:06:34","slug":"rediscovering-spain","status":"publish","type":"album","link":"https:\/\/accademiaclub.com\/en\/album\/rediscovering-spain\/","title":{"rendered":"Rediscovering Spain"},"content":{"rendered":"

This content is exclusive to Accademia Club members.<\/p>Become a member<\/a>

Already a member? Log in<\/a><\/p><\/div>\n\n\n\n

In past centuries, instrumental performance practice went beyond a plain reading of the music written by its creators. It involved a fresh interpretation of the original text, adding or omitting voices, glosas or instruments, or simply using characteristic motifs as the basis for improvisation or the creation of new counterpoints.<\/p>\n\n\n\n

In this programme, Accademia del Piacere seeks to recover the instrumental practice \u2013 in this case, the Hispanic tradition \u2013 and the approach to musical interpretation characteristic of the 16th and 17th centuries. It moves away from a superficial performance of the fantasias, variations and glosas \u2013 already created in that period as examples of a praxis \u2013 and focuses on genuine musical creation and performance according to historically informed criteria: the true aim and purpose of musicians in every age.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n
\"\"<\/figure>\n\n\n

Fahmi Alqhai \u2014 <\/strong>viola da gamba & musical direction<\/em><\/p>\n\n\n\n

Raquel Andueza<\/strong> \u2014 <\/strong>soprano<\/em><\/p>\n\n\n\n

Rami Alqhai, Johanna Rose, Ignacio del Valle \u2014 <\/strong>violas da gamba<\/em>
Juan Ram\u00f3n Lara<\/strong> \u2014<\/strong> violone<\/em>
Enrike Solin\u00eds \u2014<\/strong> baroque guitar, vihuela &<\/em> colascione
Francisco Javier N\u00fa\u00f1ez and Alberto Mart\u00ednez Molina \u2014 <\/strong>harpsichord & organ<\/em>
Pedro Estevan<\/strong> and David \u201cChupete\u201d \u2014<\/strong> percussion<\/em>
Miguel Rinc\u00f3n<\/strong> \u2014<\/strong> vihuela & theorbo<\/em>
Arnau Rod\u00f3n<\/strong> \u2014<\/strong> Renaissance cornetto<\/em>
David Garc\u00eda and Ram\u00f3n P. Pe\u00f1aranda<\/strong> \u2014<\/strong> sackbuts<\/em>
Luis Castillo<\/strong> \u2014<\/strong> dulcian<\/em><\/p>\n\n\n\n

Tracklist<\/h2>\n\n\n\n

1. Di, perra mora<\/strong>
Anonymous (16th century)<\/p>\n\n\n\n

Possibly composed by Pedro Guerrero, this piece from the Cancionero de Medinaceli (16th c.) tells a typical frontier story of the Spanish Renaissance: the sorrows of a Christian in love with a Moorish woman.<\/p>\n\n\n\n

Di, perra mora,<\/em>
di, matadora,<\/em>
\u00bfPor qu\u00e9 me matas,<\/em>
y, siendo tuyo,<\/em>
tan mal me tratas?<\/em><\/p>\n\n\n\n

2. Marionas<\/strong>
Gaspar Sanz (1640-1710) & Fahmi Alqhai<\/p>\n\n\n\n

The Aragonese Gaspar Sanz was one of the most prominent Spanish guitarists of the Baroque, and his three volumes of music in tablature are a benchmark for the Spanish dance repertoire of the period.<\/p>\n\n\n\n

3. Canarios<\/strong>
Gaspar Sanz & Fahmi Alqhai<\/p>\n\n\n\n

The canarios, whose origin is evident from their name, were among the dances that reached the Iberian Peninsula from overseas in the colonial era, and they became a regular feature of French operas at the court of Louis XIV. Here we hear an ensemble version of one of those published by Gaspar Sanz for guitar.<\/p>\n\n\n\n

4. Fantas\u00eda sobre el Mille Regretz de Josquin<\/strong>
Enrike Solin\u00eds<\/p>\n\n\n\n

As an introduction to the song with glosas on the next track, Enrike Solin\u00eds draws inspiration from Josquin\u2019s famous piece.
<\/p>\n\n\n\n

5. Glosa sobre el Mille Regretz de Josquin<\/strong>
Fahmi Alqhai<\/p>\n\n\n\n

Fahmi Alqhai makes his own diminution of the celebrated \u201cCanci\u00f3n del Emperador\u201d by the great master of polyphony, Josquin. Regarded as a favourite of Charles V, this beautiful chanson<\/em> was set in their own versions by many Renaissance composers, such as the Spanish vihuelist Luis de Narv\u00e1ez.<\/p>\n\n\n\n

Mille regretz de vous abandonner<\/em>
Et d\u2019eslongier vostre fache amoureuse.<\/em>
J\u2019ay si grant doeul et peine doloreuse<\/em>
Qu\u2019on me verra brief mes jours deffin<\/em>er.<\/p>\n\n\n\n

6. Dos estrellas le siguen<\/strong>
Manuel Machado (c. 1590-1646)<\/p>\n\n\n\n

Fahmi Alqhai writes glosas on the song by Manuel Machado, the Portuguese harpist at the court of Philip IV.<\/p>\n\n\n\n

Dos estrellas le siguen,
morena, y dan luz al sol.
Va de apuesta, se\u00f1ora,
morena, q’essos ojos son.<\/em><\/p>\n\n\n\n

7. Corrente Italiana<\/strong>
Juan Cabanilles (1644-1712)<\/p>\n\n\n\n

The corrente was an Italian dance; this one was originally written for organ and is sumptuously orchestrated here.<\/p>\n\n\n\n

8. La dama le demanda<\/strong>
\u201cAntonio de las obras\u201d (Antonio Cabez\u00f3n 1510-1566) & Fahmi Alqhai<\/p>\n\n\n\n

Like today\u2019s jazz<\/em> musicians, 16th-century instrumentalists made their own versions of polyphonic songs, introducing variations and ornaments with which to show off their art of improvisation. The Spanish court organist Antonio de Cabez\u00f3n was the great master of this art, called diminution<\/em>, and here he arranges the famous chanson<\/em> \u201cBelle, qui tiens ma vie\u201d for keyboard. Fahmi Alqhai in turn adapts it for viola da gamba and organ.<\/p>\n\n\n\n

9. Diferencias sobre Gu\u00e1rdame las vacas<\/strong>
Improvisation & Fahmi Alqhai<\/p>\n\n\n\n

The song \u201cGu\u00e1rdame las vacas\u201d became hugely famous in the 16th century because its short chord progression  (also known as the \u201cromanesca\u201d) served for countless improvisations, many of them found in Spanish vihuela books. Accademia del Piacere joins in the musical game of the period to play  its own \u201cvacas\u201d.<\/p>\n\n\n\n

10. Susana Passeggiata<\/strong>
Bartolom\u00e9 de Selma y Salaverde (c. 1580-c. 1640)<\/p>\n\n\n\n

The Spanish dulcian player Bartolom\u00e9 de Selma y Salaverde made his career in Italy. We hear his glosa on Susanne un jour <\/em>by Orlando di Lasso.<\/p>\n\n\n\n

11. Tiento III en el primer tono<\/strong>
\u201cAntonio de las obras\u201d (Antonio Cabez\u00f3n)<\/p>\n\n\n\n

The Spanish tiento is a work of imitative polyphony, in the manner of an instrumental motet. We hear an example by the elder Cabez\u00f3n.<\/p>\n\n\n\n

12. Si la noche hace escura<\/strong>
Francisco Guerrero (1528-1599)?<\/p>\n\n\n\n

Probably an early work by the great Guerrero, chapel master of Seville, this is a typical example of a secular villancico.<\/p>\n\n\n\n

Si la noche hace escura
y tan corto es el camino,
\u00bfc\u00f3mo no ven\u00eds, amigo?<\/p>\n\n\n\n

La media noche es pasada
y el que me pena no viene;
mi desdicha lo detiene,
\u00a1que nas\u00e7\u00ed tan desdichada!<\/p>\n\n\n\n

H\u00e1ceme vivir penada
y mu\u00e9straseme enemigo.
\u00bfComo no ven\u00eds, amigo?<\/p>\n\n\n\n

13.<\/strong> X\u00e1caras<\/strong>
Anonymous (17th century)<\/p>\n\n\n\n

The j\u00e1caras were another of the successful Spanish dances of the 17th century, with a characteristic twelve-beat cross-rhythm, exactly in the manner of the later flamenco soleares.<\/p>\n\n\n\n

14. Susana un jur glossada<\/strong>
Hernando de Cabez\u00f3n (1541-1602) & Fahmi Alqhai<\/p>\n\n\n\n

We hear another glosa on the famous Susana <\/em>by Lasso, in this case by Hernando, son of Antonio de Cabez\u00f3n.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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