{"id":6595,"date":"2026-10-27T14:01:58","date_gmt":"2026-10-27T14:01:58","guid":{"rendered":"https:\/\/accademiaclub.com\/videos\/pavana-5-2\/"},"modified":"2026-10-27T14:01:58","modified_gmt":"2026-10-27T14:01:58","slug":"pavana-5","status":"publish","type":"videos","link":"https:\/\/accademiaclub.com\/en\/videos\/pavana-5\/","title":{"rendered":"A la dulce risa del alva"},"content":{"rendered":"<div class=\"accademia-club-gate\" style=\"text-align:center; padding:40px 24px; border:1px solid #C8B481; border-radius:4px; margin:24px 0;\"><p style=\"margin:0 0 20px; font-size:1.05em;\">This content is exclusive to Accademia Club members.<\/p><a class=\"accademia-club-gate__cta\" href=\"https:\/\/accademiaclub.com\/en\/suscripcion\" style=\"display:inline-block; padding:12px 28px; background:#C8B481; color:#000; text-decoration:none; font-weight:600;\">Become a member<\/a><p style=\"margin:16px 0 0; font-size:0.9em;\">Already a member? <a href=\"https:\/\/accademiaclub.com\/wp-login.php?redirect_to=https%3A%2F%2Faccademiaclub.com%2Fen%2Fvideos%2Fpavana-5%2F\">Log in<\/a><\/p><\/div>\n\n\n\n<div class=\"wp-block-stackable-heading stk-block-heading stk-block-heading--v2 stk-block stk-d081e47\" id=\"la-sablonara-accademia-del-piacere\" data-block-id=\"d081e47\"><h4 class=\"stk-block-heading__text\">A la dulce risa del alva (fol\u00eda a 4)  &#8211; <strong>La Sablo<\/strong>nara<\/h4><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Mateo Romero \u201cCapit\u00e1n\u201d (1575-1647) &#8211; Fahmi Alqhai<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A polyphonic tono built on the harmonic scheme of the fol\u00eda. It combines poetic lyricism with rhythmic contrasts between duple and triple metre. It reflects the expressive, courtly style of the early Spanish Baroque.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">World premiere of the La Sablonara programme at the Utrecht Early Music Festival, based on the palace songbook of the Royal Chapel at the Madrid court, compiled for the Count of Neuburg during his stay in Madrid at the court of Philip IV around 1625.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>ACCADEMIA DEL PIACERE&nbsp;<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Fahmi Alqhai,<\/strong> viola da gamba &amp; direction&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Rami Alqhai<\/strong>, viola da gamba&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Johanna Rose<\/strong> \u2013 viola da gamba&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Carles Blanch, <\/strong>baroque guitar&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Francisco Javier N\u00fa\u00f1ez<\/strong> \u2013 harpsichord&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Agust\u00edn Diassera <\/strong>\u2013 percussion&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Quiteria Mu\u00f1oz<\/strong> \u2013 soprano<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Savid Sagastume<\/strong> \u2013 alto&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><strong>Ariel Hern\u00e1ndez<\/strong> \u2013 tenor<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Javier Jim\u00e9nez Cuevas<\/strong> \u2013 bass&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">LYRICS<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">A&nbsp; la&nbsp; dulce&nbsp; risa&nbsp; del&nbsp; alva,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">Campos fuentes y ruise\u00f1ores&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">dicen amores.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">Fuentecillas con labios de plata,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">avecillas con pico de n\u00e1car&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">y&nbsp; los&nbsp; campos&nbsp; con&nbsp; lenguas&nbsp; de&nbsp; flores,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">dicen amores.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\"><em>Coplas solo<\/em>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">Dudosas est\u00e1n agora,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">ya que ven la luz distinta,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">si es la risa de Jacinta&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">o es el llanto de la Aurora ;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">m\u00e1s perlas q&#8217;el alva llora&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">muestra Jacinta en sus dientes,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">quando las aves y fuentes&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">a sus ojos vencedores&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">dicen amores.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">En su imbidia y sus enojos&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">no les pone el alma culpas,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">que son hermosas disculpas&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">mirar&nbsp; tan&nbsp; divinos&nbsp; ojos;&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">que a sus luzes y despojos&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">aves y&nbsp; fuentes sonoras,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">por&nbsp; m\u00e1s&nbsp; lucientes&nbsp; auroras,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">ya con requiebros mayores&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">dicen&nbsp; amores.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">A&nbsp; la&nbsp; dulce&nbsp; risa&nbsp; del&nbsp; alva,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">Campos fuentes y ruise\u00f1ores&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">dicen amores.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">Fuentecillas con labios de plata,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">avecillas con pico de n\u00e1car&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">y&nbsp; los&nbsp; campos&nbsp; con&nbsp; lenguas&nbsp; de&nbsp; flores,&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"margin-top:0;margin-bottom:0\">dicen amores.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A la dulce risa del alva (fol\u00eda a 4) &#8211; La Sablonara Mateo Romero \u201cCapit\u00e1n\u201d (1575-1647) &#8211; Fahmi Alqhai A polyphonic tono built on the harmonic scheme of the fol\u00eda. It combines poetic lyricism with rhythmic contrasts between duple and triple metre. It reflects the expressive, courtly style of the early Spanish Baroque.&nbsp; World premiere [&hellip;]<\/p>\n","protected":false},"featured_media":5786,"template":"","tipo":[98],"estilo":[],"coleccion":[114],"class_list":["post-6595","videos","type-videos","status-publish","has-post-thumbnail","hentry","tipo-piezas-en-directo-en","coleccion-el-cancionero-de-la-sablonara-en"],"_links":{"self":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/videos\/6595","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/videos"}],"about":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/types\/videos"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media\/5786"}],"wp:attachment":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media?parent=6595"}],"wp:term":[{"taxonomy":"tipo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/tipo?post=6595"},{"taxonomy":"estilo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/estilo?post=6595"},{"taxonomy":"coleccion","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/coleccion?post=6595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}