Gabriel Martinez-Gros est professeur emerite d'histoire medievale de l'Islam à l'universite de Nanterre, specialiste de l'ideologie omeyyade et grand connaisseur de la pensee d'Ibn Khaldûn. L'historien nous presente une histoire d'Al- Andalus, c'est-à-dire de l'Espagne conquise par les troupes musulmanes au VIIIe siecle, durant les conquetes arabes, puis dirigee par les califes omeyyades de Cordoue jusqu'au XIe siecle. La guerre civile, fitna en arabe, entre les emirs andalous, et la poussee chretienne de la Reconquista, vont progressivement mettre fin à la presence musulmane en Espagne. Gabriel Martinez-Gros livre un recit marque par le souci de restituer les ideologies des differents acteurs comprises dans un contexte economique, politique intellectuel et social brillamment retrace. Cette histoire d'Al Andalus, nous rappelle l'historien, est l'objet d'un debat historiographique don't il trace les contours. C'est aussi un enjeu pour la societe espagnole contemporaine qui renouvelle son regard sur son passe. Claude COLOMBINI FReMEAUX. Gabriel Martinez-Gros is Emeritus Professor of Medieval Islamic History at the University of Nanterre, a specialist in Umayyad ideology and a great connoisseur of the thought of Ibn Khaldûn. The historian presents a history of Al-Andalus, i.e. Spain conquered by Muslim troops in the 8th century, during the Arab conquests, and then ruled by the Umayyad caliphs of Cordoba until the 11th century. The civil war (fitna in Arabic) between the Andalusian emirs and the Christian thrust of the Reconquista gradually brought an end to the Muslim presence in Spain. Gabriel Martinez-Gros delivers an account marked by a concern for restoring the ideologies of the various players included in a brilliantly traced economic, political, intellectual and social context. The historian reminds us that this history of Al Andalus is the subject of a historiographical debate, the contours of which he outlines. It is also a challenge for contemporary Spanish society, which is renewing it's view of it's past. Audiobook, in French.
We know that key influences on Flamenco date back to Islamic Iberia or the Al-Andalusian era of Spain between the 8th-15th centuries. Yet the first mention of Flamenco by name is not until 1774, where it appears in an epistolary novel, Cartas Marruecas, by the playwright and soldier, Jose de Cadalso y Vazquez. In collaboration on with soprano Victoria Couper, kanun player, Konstantin nos Glynos, and oud/Flamenco guitarist, Ignacio Lusardi Monteverde, this album seeks to explore this question by tracing the influences on Flamenco through Arabic music alongside Sephardic song and the Spanish composers of the late-16th to 18th centuries. What happened in these intervening centuries?
The Secrets of Andalusia
$21.99
CD
First Hand Records
Jan 24, 2025
FHR157
ARANJUEZ
ERATO
Available as
CD
$17.49
Nov 06, 2020
2020 release. Expressing his own cultural identity, guitarist Thibaut Garcia combines Rodrigo's archetypally Spanish Concierto de Aranjuez with a declaration of l'esprit francais: Alexandre Tansman's neoclassical Musique de cour, inspired by the court of Louis XIV. Garcia's heritage is Spanish, but he is French, born in the city of Toulouse, where this album was recorded with the Orchestre National du Capitole de Toulouse and the young British conductor Ben Glassberg. It is completed by four solo pieces by Regino Sainz de la Maza, the guitarist who gave the premiere of the Concierto de Aranjuez in 1940.
ARANJUEZ
$17.49
CD
ERATO
Nov 06, 2020
EAO523571.2
Cante Andaluz (Flamenco Song Recorded Live in Seville)
Nimbus
Available as
CD
$20.99
Oct 01, 1996
Classical Music
Cante Andaluz (Flamenco Song Recorded Live in Seville)
$20.99
CD
Nimbus
Oct 01, 1996
NI5554
Baroque Mexico 2
Urtext
Available as
CD
$16.99
$12.99
Jan 01, 1998
Jerusalem Y Stella, I.: Te Deum / Gorgeos Trinando / Rompa L
On Sale
Baroque Mexico 2
$16.99
$12.99
CD
Urtext
Jan 01, 1998
UMA2012
La Muse Oubliee II
IBS Classical
Available as
CD
$17.99
May 03, 2024
Pianist Antonio Oyarzabal continues to show us in this album that a multitude of female composers, who deserve to be known and recognized, still remain forgotten. On this occasion, he offers us a selection of pieces by 18 unique authors, most of them pianists, from different periods and geographical origins. In all cases, their professional development was hindered by their status as women and by the social pressure of the historical period in which they lived. Oyarzabal finds intense and authentic artistic stimulation in the process of researching their career paths and in the enthusiastic interpretation of their music. This second part of “La Muse Oubliée” does not intend to bring any sort of closure. On the contrary, it represents the continuation of a project as large as the number of female composers who have yet to be included…
La Muse Oubliee II
$17.99
CD
IBS Classical
May 03, 2024
IBS-32024
Ay Luna / Guillemette Laurens, Unda Maris
Alpha
Available as
CD
$8.99
Sep 01, 2007
In Spain's Golden Century, sacred and secular repertoire drew their inspiration from a unique popular source. Guilemette Laurens highlights the diversity of a contrasted language full of colours and moods, bright or serious, bitter or flamboyant, and constantly illustrating the profundity so characteristic of Spain.
Ay Luna / Guillemette Laurens, Unda Maris
$8.99
CD
Alpha
Sep 01, 2007
ALPHA064
Spain: Cante Flamenco / de Utrera
Ocora Radio-France
Available as
CD
$29.99
Jun 25, 2021
Fernanda Jiménez Peña (1923-2006) was born in 1923 in Utrera, one of the towns located in the main cantaora region. Hailed as one of the greatest cantaoras of the last decades, Fernanda accompanies her voice of echoing sobs with gesticulation and superhuman concentration. Silence, panting, and gestures of impotence and agony transform her more inspired concerts into magnificent, liberating events laden with tragic pathos. Bernarda Jiménez Peña (1927-2009), Fernanda’s sister, is a cantaora specialised in the bulerías, which she performs with incomparable mastery. Although the bulerías have been considered as a minor form of cante, they are extremely difficult to execute due to their pulsating rhythm and the exactitude of their compás. Bernarda’s bulerías convey infinitely complex psychological states and adapt to a wide variety of melodic lines, to create a personal, disorderly and expansive mood, further enhanced through her sense of intimacy and ability to move listeners.
Spain: Cante Flamenco / de Utrera
$29.99
CD
Ocora Radio-France
Jun 25, 2021
C 581642/43
Masters of the Guitar, Vol. 2: Spain
IDIS
Available as
CD
$16.99
Oct 14, 2016
This release continues the IDIS tradition of remastering and rediscovering the most important performers of the Legendary Guitar Spanish School. This collection has very rare tracks coming directly from private collectors' discographies.
Masters of the Guitar, Vol. 2: Spain
$16.99
CD
IDIS
Oct 14, 2016
IDIS6715
Guitar Music - Milan, L. / Mudarra, A. / Narvaez, L. / Sanz,
Delos
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CD
$26.99
Jan 01, 2005
Classical Music
Guitar Music - Milan, L. / Mudarra, A. / Narvaez, L. / Sanz,
$26.99
CD
Delos
Jan 01, 2005
DE 3347
Invocaciones / Duo Mexicano con Brio
Urtext
Available as
CD
$16.99
Apr 27, 2010
INVOCACIONES: Mexican Music for Flute and Piano • Evangelina Reyes (fl); Camelia Goila (pn) • URTEXT DIGITAL JBCC-188 (67:27)
ZYMAN Sonata for Flute and Piano. LAVISTA Dance of Degas’s Ballerinas. CORAL Not So Short Sonata for Flute and Piano. ARMENGOL Divertimento. ARANDA Mnemósine. Cadenza. LUNA Six Fantasies for Flute and Piano. E. TOUSSAINT Bop Study No.1 for Flute Solo
This is another one of those collections of miscellany that is so easily overlooked or dismissed—I would probably pass over it myself if I were just a reader of this magazine. But this recording offers fine performances of an extremely appealing recital program, with a repertoire that ranges from the truly superb to the merely pleasant. I will discuss the program in my own judgment of descending order of interest.
The most fully satisfying work is the 17-minute sonata by the Mexican-American composer Samuel Zyman, now in his late-50s, and a member of the Juilliard faculty for quite a few years. From my personal vantage point, Zyman’s music seems to have drawn little serious attention, but of nearly a dozen of his works that I’ve encountered over the years I haven’t heard one that failed to exhibit an irresistible sense of compelling creative urgency, vividly and expertly articulated within a general language of traditional modern neoclassicism. But unlike the neoclassical norm, often characterized by a cool detachment and lack of emotional commitment, Zyman’s music is always serious and expressive in tone, with a driving contrapuntal energy. I cannot imagine a flutist who wouldn’t relish a work like this, which grabs the listener intensely from the first moment and never lets go. The piece it most resembles is the perennially popular Sonata for Flute and Piano by the late Robert Muczynski, but Zyman’s 1993 sonata is somewhat more driven and edgy.
Also of considerable interest and appeal is the Dance of Degas’s Ballerinas, composed in 1992 by Mario Lavista. Born in 1943, Lavista seems to have the most cosmopolitan academic pedigree of the composers represented, having studied with a range of mentors from Nadia Boulanger and György Ligeti to Karlheinz Stockhausen. But the short piece that we hear here is a consistently absorbing abstract work in a modern traditionalist style. Some listeners may find their imaginations stimulated by the title, but I heard no convincing musical connection to the suggested images, yet had no problem connecting with the piece as pure music.
Leonardo Coral, born in 1962, is a prolific composer whose music has been performed widely throughout Mexico. His four-movement piece, whose title may be translated as Not So Short Sonata for Flute and Piano, dates from 2003. It is a pleasant piece with an occasional reminiscence of Poulenc—pretty, straightforward, but with no plumbing of expressive depths. Mario Ruiz Armengol (1914-2002) was a versatile figure in Mexican music, celebrated in the classical, light classical, and popular fields. His Divertimento in G (1979) for alto flute and piano is a gracious, warmly lyrical piece. Alexis Aranda, not yet 40 and the youngest composer represented here, has been hailed as a major talent within the Mexican music establishment. A student of Mario Lavista, noted above, he is represented here by two very short pieces. The first, Mnemósine, refers to the goddess of memory. Dating from 2002, it begins with striking dissonance, but quickly warms up to an appealingly tonal lyricism. The earlier Cadenza for unaccompanied flute is a rather late addition to a genre overflowing with mediocre pieces.
Armando Luna (b. 1964) received his graduate training under Leonardo Balada at Carnegie Mellon University, while his career has flourished actively in his native Mexico. The program notes accompanying his Six Fantasies of 1992 make all sorts of intriguingly colorful references, but the actual music does not bear them out and is rather ordinary if pleasant enough. Like many of the composers represented on this recital, Eugenio Toussaint (1954-2011) was active in Mexico’s popular, jazz, and classical worlds. His Bop Study No. 1 (1994) was originally written for recorder, but Evangelina Reyes transcribed it for flute. As it stands, the short piece exploits a wide range of flute effects, both familiar and unconventional, many of them suggestive of “bop”-style jazz. All the pieces are performed expertly by both Reyes and her accompanist Camelia Goila.
FANFARE: Walter Simmons
Invocaciones / Duo Mexicano con Brio
$16.99
CD
Urtext
Apr 27, 2010
JBCC 188
Endechar: Lament for Spain
Naxos
Available as
CD
$19.99
$13.99
Jun 29, 2010
Sephardic music, from the ancient domain of al-Andalus, lies at the heart of of this selection of songs in remembrance of a lost homeland. The word endechar comes from a time before the expulsion of the Jews and their culture from Spain in 1492; wit.
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Endechar: Lament for Spain
$19.99
$13.99
CD
Naxos
Jun 29, 2010
8572443
HASSE: SERPENTES IGNEI IN DESERTO
ERATO
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CD
$19.99
Apr 18, 2025
Six virtuoso vocal soloists and the instrumentalists of Les Accents rise to the dramatic and expressive challenges of Serpentes ignei in deserto - 'Fiery Serpents in the Desert' - a biblical oratorio by Johann Adolf Hasse. As the conductor and violinist Thibault Noally explains: "Hasse was probably one of the most famous composers of his time - as famous as Handel, or even more famous than Handel in some countries." Born near Hamburg in 1699, Hasse studied in Italy and was active in such musical centers as Naples, Vienna, Dresden and Venice, where he composed Serpentes ignei in deserto. The central role of Moses is taken by countertenor Philippe Jaroussky, who is joined by soprano Julia Lezhneva as an Angel, sopranist Bruno de Sa, and three further star countertenors - Jakub Jozef Orlinski, Carlo Vistoli and David Hansen. "The score is demanding for all the singers," continues Thibault Noally. "Every character is very different from the others and each of our soloists has a unique personality and a unique vocal timbre. The result is a huge variety of temperaments and colors."
HASSE: SERPENTES IGNEI IN DESERTO
$19.99
CD
ERATO
Apr 18, 2025
EAO239904.2
ESPANA: ALBENIZ FALLA GRANADOS MOMPOU TURINA
ERATO
Available as
CD
$19.99
Sep 07, 2018
Classical Music
ESPANA: ALBENIZ FALLA GRANADOS MOMPOU TURINA
$19.99
CD
ERATO
Sep 07, 2018
EAO573650.2
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