{"id":6597,"date":"2026-10-27T14:01:58","date_gmt":"2026-10-27T14:01:58","guid":{"rendered":"https:\/\/accademiaclub.com\/videos\/el-cancionero-de-la-sablonara-2\/"},"modified":"2026-10-27T14:01:58","modified_gmt":"2026-10-27T14:01:58","slug":"el-cancionero-de-la-sablonara","status":"publish","type":"videos","link":"https:\/\/accademiaclub.com\/en\/videos\/el-cancionero-de-la-sablonara\/","title":{"rendered":"The Cancionero de La Sablonara"},"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

THE CANCIONERO DE LA SABLONARA <\/strong><\/p>\n\n\n\n

ACCADEMIA DEL PIACERE  <\/strong><\/p>\n\n\n\n

Fahmi Alqhai<\/strong>, viola da gamba & direction  <\/p>\n\n\n\n

Rami Alqhai<\/strong>, viola da gamba <\/p>\n\n\n\n

Johanna Rose<\/strong>, viola da gamba <\/p>\n\n\n\n

Carles Blanch<\/strong>, baroque guitar <\/p>\n\n\n\n

Francisco Javier N\u00fa\u00f1ez<\/strong>, harpsichord <\/p>\n\n\n\n

Agust\u00edn Diassera<\/strong>, percussion <\/p>\n\n\n\n

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

Quiteria Mu\u00f1oz<\/strong>, soprano <\/p>\n\n\n\n

Savid Sagastume<\/strong>, alto <\/p>\n\n\n\n

Ariel Hern\u00e1ndez<\/strong>, tenor <\/p>\n\n\n\n

Javier Jim\u00e9nez Cuevas<\/strong>, bass <\/p>\n\n\n\n

Programme<\/h4><\/div>\n\n\n\n

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

Gaspar Sanz (1640 – 1710) – Fahmi Alqhai <\/strong> <\/p>\n\n\n\n

Pavana <\/p>\n\n\n\n

Mateo Romero \u201cCapit\u00e1n\u201d (1575-1647)<\/strong> <\/p>\n\n\n\n

A la dulce risa del alva (fol\u00eda a 4) <\/p>\n\n\n\n

Ay que me muero de zelos (a3) <\/p>\n\n\n\n

Aquella hermosa aldeana (romance a4) <\/p>\n\n\n\n

Romerico florido (fol\u00eda a2) <\/p>\n\n\n\n

Anonymous & Fahmi Alqhai <\/strong> <\/p>\n\n\n\n

X\u00e1caras <\/p>\n\n\n\n

Fol\u00edas de Espa\u00f1a <\/p>\n\n\n\n

Manuel Machado (1590-1646) <\/strong> <\/p>\n\n\n\n

Dos estrellas le siguen (a4) <\/p>\n\n\n\n

Andrea Falconieri (1585-1656)<\/strong> <\/p>\n\n\n\n

La suave melod\u00eda y su corrente  <\/p>\n\n\n\n

Passacalle i Ciaccona, a tre <\/p>\n\n\n\n

Anonymous (17th c.) – Fahmi Alqhai<\/strong> <\/p>\n\n\n\n

Fandangos <\/p>\n\n\n\n

Juan Blas de Castro (c. 1561 – 1631)<\/strong> <\/p>\n\n\n\n

Variations on a Joe Satriani Theme  <\/p>\n\n\n\n

Anonymous<\/strong> <\/p>\n\n\n\n

De tu vista celoso (seguidillas a4)  <\/p>\n\n\n\n

Arrangements: Fahmi Alqhai  <\/p>\n\n\n\n

Programme notes<\/h4><\/div>\n\n\n\n

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

The concert took place in the Hertz Hall <\/strong>of the TivoliVredenburg music complex in Utrecht<\/em>, one of the leading music centres in the Netherlands.<\/em> <\/p>\n\n\n\n

The fire at the Royal Alc\u00e1zar of Madrid, on Christmas night in 1734, was a terrible tragedy for Spanish music, as it destroyed the court\u2019s music archives, which housed many masterpieces composed in the kingdom\u2019s capital during the 17th century. This sad event makes the Cancionero de La Sablonara, held at the Bavarian State Library in Munich, an essential source for our knowledge of Spanish secular music in the first third of the 17th century. The manuscript was compiled by Claudio de La Sablonara, principal copyist of the Spanish Royal Chapel, for the Count of Neuburg during his stay at the court of Philip IV in Madrid around 1625, and contains the finest court repertoire of the time. Written in a meticulous hand, the songbook contains more than seventy polyphonic tonos, that is, pieces for two, three or four voices. The tonos are set to Spanish poetic forms such as romances, villancicos, endechas and seguidillas, as well as fol\u00edas, with texts by major authors such as Lope de Vega. They are generally strophic settings in a simple polyphonic style, more homophonic than imitative, continuing the Spanish Renaissance tradition. Yet both their harmony and, above all, their peculiar rhythm introduce innovations that today, with the perspective of centuries, we would call Baroque. Especially characteristic is the constant, unpredictable shift from duple to triple metre and vice versa, a feature that has survived in Spanish music to this day, as in flamenco. To notate these rhythmic shifts, Hispanic composers of the period even devised a distinctive form of chromatic notation, particularly well suited to this repertoire and, in some respects, more effective than modern notation. The works preserved in the manuscript are by some of the most prestigious Iberian composers of the day, such as Juan Blas de Castro, Joan Pau Pujol, \u00c1lvaro de los R\u00edos, Manuel Machado and Juan de Torres, among others. The most notable composer, and the one most widely represented in the songbook, is Mateo Romero, known as \u201cmaestro Capit\u00e1n\u201d (simply \u201cCapit\u00e1n\u201d in the manuscript). His original name was Mathieu Rosmarin: he was born in Li\u00e8ge, then part of the Spanish Netherlands, and was brought to the Spanish court as a choirboy at barely ten years of age. There, he would succeed his teacher Philippe Rogier as maestro de capilla (chapel master). He is thought to have taught music, particularly the viola da gamba, to King Philip IV. The instrument, known in the chapel as the vihuela de arco, had in fact held a prominent place in the music of the Spanish court for a century already. Today, we will have the chance to recreate its customary role, alternating with the voices and supporting the polyphonic texture. <\/p>\n","protected":false},"excerpt":{"rendered":"

THE CANCIONERO DE LA SABLONARA ACCADEMIA DEL PIACERE   Fahmi Alqhai, viola da gamba & direction   Rami Alqhai, viola da gamba  Johanna Rose, viola da gamba  Carles Blanch, baroque guitar  Francisco Javier N\u00fa\u00f1ez, harpsichord  Agust\u00edn Diassera, percussion  Quiteria Mu\u00f1oz, soprano  Savid Sagastume, alto  Ariel Hern\u00e1ndez, tenor  Javier Jim\u00e9nez Cuevas, bass  Programme Gaspar Sanz (1640 – 1710) […]<\/p>\n","protected":false},"featured_media":5573,"template":"","tipo":[95],"estilo":[],"coleccion":[114],"class_list":["post-6597","videos","type-videos","status-publish","has-post-thumbnail","hentry","tipo-conciertos-en-directo-en","coleccion-el-cancionero-de-la-sablonara-en"],"_links":{"self":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/videos\/6597","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\/5573"}],"wp:attachment":[{"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/media?parent=6597"}],"wp:term":[{"taxonomy":"tipo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/tipo?post=6597"},{"taxonomy":"estilo","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/estilo?post=6597"},{"taxonomy":"coleccion","embeddable":true,"href":"https:\/\/accademiaclub.com\/en\/wp-json\/wp\/v2\/coleccion?post=6597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}