Utwory na płycie:

• Soneto V
• Quando borda el campo verde
• Soneto II
• Repicaban las campanillas
• En el valle, Inés
• Porque tan firme os adoro
• Fantasía del cuarto modo
• Romance de Doña Ines de Castro
• Don Pedro a quien los crueles
• Rio de Sevilla
• Que importa que yo lo calle
• Ribericas del Río de Manzanares
• Por la verde orilla del claro Tormes
• Orillas del claro Tajo
• Entre dos álamos verdes
• Pajarillo fugitivo
• Duo de Josquin
• Hijos de Eva tributarios
• Malograda Fuentecilla
• Oh, pajarillo que cantas
• A cierto galán su dama
• El zorzal y la calandria
• El pajarillo

Anonymous (Codex Zuola):
Que importa que yo lo calle
Pajarillo fugitivo
Malograda Fuentecilla
A cierto galán su dama
En el valle, Inés
Porque tan fi rme os adoro
Romance de Dona Ines de Castro
Don Pedro a quien los crueles
Rio de Sevilla
Entre dos álamos verdes

Enríquez de Valderrábano:
Duo de Josquin

Tomás de Herrera:
Hijos de Eva tributarios

Trad.:
Oh, pajarillo que cantas
El zorzal y la calandria
El pajarillo

Enríquez de Valderrábano:
Soneto V
Soneto II

Etienne Moulinié:
Quando borda el campo verde
Repicaban las campanillas
Ribericas del Río de Manzanares
Por la verde orilla del claro Tormes
Orillas del claro Tajo

Luis de Milan:
Fantasía del cuarto modo

The songs included in this album come from diverse origins, united by the subtle narrative, poetic and musical threads all common to the Spanish repertoire. Pieces of literary traditions from the XVI and XVII centuries are intermingled with others belonging to folkloric ones, all of them taken from non-Spanish sources, and organized into five thematic groups, alternating between each other as if they were refined panels in a Renaissance altarpiece.

Engaging with this music involves entering a singularly vast field, rich with centuries old intersections, borrowings and appropriations between cultures; a natural occurrence, considering the identity of the the old American colonial territories and their population – their complex and mixed nature. Through this program I aim to expose the varied processes of appropriation and transculturation, especially significant to the Latin American colonial repertoire, informed by the interpretative tradition that I inherited and built between the spheres of the ‘popular’ and the ‘academic’: the comings and goings of tropes, images, melodies, from the mouth of the people to the written page, and from there again, transformed into popular songs, to the musical practices of my referents, my teachers and, finally, to my own. [Jonatan Alvarado]

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Recording: Palace of Koszęcin (Poland), February 2017