Concerto Zapico: Baroque Dance Music / Forma Antiqva

$20.99
Label
Winter & Winter
Release Date
November 19, 2010
Format
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    Featuring ⌄
    • COMPOSER
      KAPSPERGER CORELLI PASQUINI
    • PERFORMER
      Forma Antiqva
    Product Details ⌄
    • RELEASE DATE
      November 19, 2010
    • UPC
      025091017324
    • CATALOG NUMBER
      910173-2
    • LABEL
      Winter & Winter
    • NUMBER OF DISCS
      1
    • GENRE
      Chamber Music & Recitals
    Works ⌄

    1. Fandango (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Domenico Scarlatti

      Ensemble: Forma Antiqva

    2. Preludio (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Ludovico Roncalli

      Ensemble: Forma Antiqva

    3. Passacaglia (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Giovanni Girolamo Kapsberger

      Ensemble: Forma Antiqva

    4. Bayle del Gran Duque (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Anonymous

      Ensemble: Forma Antiqva

    5. Fandango

      Composer: Santiago de Murcia

      Ensemble: Forma Antiqva

    6. Toccata No. 11 (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Giovanni Girolamo Kapsberger

      Ensemble: Forma Antiqva

    7. Capona and Ciaccona (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Giovanni Girolamo Kapsberger

      Ensemble: Forma Antiqva

    8. Obra de lleno de primer tono sin paso (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: José Ximénez

      Ensemble: Forma Antiqva

    9. Preludio grabe (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Santiago de Murcia

      Ensemble: Forma Antiqva

    10. Giga (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Santiago de Murcia

      Ensemble: Forma Antiqva

    11. Partite diversi di follia (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Bernardo Pasquini

      Ensemble: Forma Antiqva

    12. Folias gallegas (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Santiago de Murcia

      Ensemble: Forma Antiqva

    13. Fandango de España (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: José Nebra

      Ensemble: Forma Antiqva

    14. Colascione (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Giovanni Girolamo Kapsberger

      Ensemble: Forma Antiqva

    15. Recercada No. 1 - Lo ballo dell'intorcia (arr. A. Zapico, D. Zapico and P. Zapico for theorbo, guitar and harpsichord)

      Composer: Antonio Valente, Diego Ortiz

      Ensemble: Forma Antiqva


 

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Three brothers named Zapico -- Aarón, Pablo, and Daniel -- are part of the early music group Forma Antiqua (or, Antiqva); they appear here by themselves in a program of "Iberian-Italian" Baroque dance music, a genre whose influence stretched as far north as mid-Germany. The listener who samples this disc and wonders whether Baroque keyboard pieces ever actually had this much oomph can be assured that the recording falls purely into the not-even-speculative realm of using musical scores purely as a stimulus for further creative activity; keyboard music was something of a realm unto itself in the 17th century, and the booming guitar-and-theorbo arrangements heard here are purely the invention of the players. Indeed, they offer no justification other than that of wanting to play the music together. This said, the disc has the considerable virtue of reminding the listener that all of the patterns -- the fandangos, ciaccona, giga, folía, and so on heard here -- that made their way into Baroque music as ground basses were originally dances. The accompaniments devised by the Zapicos perhaps go beyond the intensity Baroque audiences would have recognized as appropriate (or perhaps they don't). But they're a great deal of fun, and they go together with the exciting group of releases that's defining the secular repertory exemplified by such composers as Santiago de Murcia, a repertory whose echoes have come down to the present day in both old and new worlds. Not "authentic," but if you don't tap your feet to a piece like Murcia's Folías gallegas (track 12), you'd better check for a pulse. - James Manheim (AllMusic.com)