THE PALACIO SONGBOOK Music for three voices and lute
GCD 923540 — Da Tempera Velha Florencia Menconi, mezzo-soprano Jonatan Alvarado, tenor Breno Quinderé, bass Ariel Abramovich, lute —
Production details Total playing time 71:16 Recording: Waldenburg, Basel (Switzerland), June 2022 Recording producer: Karel Valter Executive producers: Ariel Abramovich, Michael Sawall (note 1 music)
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THE PALACIO SONGBOOKMusic for three voices and lute
1 Juan de Urrede: Nunca fue pena mayor 2 Antoine Brumel: Ave ancilla trinitatis 3 Francisco de Peñalosa: Unica est columba mea 4 Juan del Encina: Romerico tú que vienes 5 Alexander Agricola: Tandernaken 6 Gilles Binchois/Alexander Agricola: Comme femme desconforté 7 Juan del Encina: Es la causa bien amar 8 Bartolomeo Tromboncino: Vox Clamantis in deserto 9 Anonymous: Zagaleja del Casar 10 Giacomo Fogliane: L’amor donna ch’io ti porto 11 Joan Ambrosio Dalza: Ricercar 12 Lluys Milán: O vos omnes qui transitis 13 Anonymous: Salve Sancta facies de Quadris 14 Anonymous: Cum autem venissent ad locum15 Anonymous: Tierra y cielos se quexaban16 Anonymous: Pues es muerto el Rey del cielo17 Guillaume Dufay: Adoramus te Domine18 Guillaume Dufay: Je vous prie19 Juan de Urrede: De vos y de mi quexoso20 Anonymous: Amours, Amours21 Anonymous: Oya tu merced y crea22 Anonymous: Ora bayla tú –
About this album
Early in 1870, a codex containing early Spanish vocal music had been discovered in the library of the Palacio Real in Madrid. The pieces which had been copied into the manuscript – entirely unknown up to that point – included compositions from the celebrated Juan del Encina and from many other, little-known, contemporaries of his. The first modern edition of the suitably entitled Cancionero de Palacio was published in 1890, immediately becoming a cornerstone of Spanish historical musicology. Later editions and studies consolidated the status of the Cancionero as a landmark in Iberian music. The present recording contrasts music from this Cancionero with that found in other codices containing similar or related repertory, whether it be Iberian in origin or from elsewhere in Europe. It offers a broader vision not only of the Cancionero de Palacio but also of the musical atmosphere of the time and of the songbook repertory as a whole.