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El Arte de FantasíaThe Harp Consort Ensemble
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With El arte de fantasía, Andrew Lawrence-King and his Harp Consort have once again put together an album that is attractive to hear even as it introduces audiences to an esoteric repertoire. Any lover of harp music might enjoy the pristine sounds and graceful ornaments of Lawrence-King's Spanish double harp and Renaissance harp. The selections here come from the era of Spain's King Charles V. Lawrence-King is featured on every track, usually accompanied by a small group of string and keyboard instruments. As on other recordings, Lawrence-King focuses on a single musical entity as an entry point to a complex repertoire, in this case a publication, the Libro de cifra nueva para tecla, arpa & vihuela (Book of New Tablatures for Keyboard, Harp, and Vihuela) of 1557. The music reflects various influences: improvisatory procedures, variation structures that were the ancestors of later ground bass pieces, semi-popular song, and the Flemish polyphony of Josquin and his contemporaries that was the high-art music of its time. Mixing preexisting materials together to create something new was central to the music's conception. Luis Venegas de Henestrosa, the book's compiler, brought together arrangements of works by various composers, often drastically altering the originals and even merging several different works into a single new piece. By the lights of the old cult of individual creativity, Henestrosa was a defacer, but as a hip-hop sampler he'd be a natural. Lawrence-King leads the listener into this compositional world, undertaking improvisations "after Henestrosa," providing extensive liner notes, and even indulging in a little fantasy of his own, using overdubbing to record a 40-part "fuga" by Henestrosa with just five musicians. El arte de fantasía will please both casual listeners and those curious about specific Renaissance musical cultures. © James Manheim, All Music Guide
Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
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The Harp Consort Ensemble
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| 1 | Entrada, improvisation after Henestrosa & Cabezón | 5:01 |
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The Harp Consort Ensemble
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| 2 | Tres sobre el canto Ilano de La alta (after Cabezón) | 1:33 |
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Luys de Narváez ComposerMille regretz (after Josquin), for vihuela Work
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| 3 | Mille regretz (after Josquin), for vihuela | 2:48 |
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| 4 | Demandez vous, canción (after Crequillon) | 1:25 |
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Luis Venegas de Henestrosa ComposerJe vous, canción Work
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| 5 | Je vous, canción | 1:26 |
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Alonso de Mudarra ComposerTiento para harpa u órgano Work |
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| 6 | Tiento para harpa u órgano | 0:47 |
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Enríquez de Valderrábano ComposerTiento sobre la Pavana real Work |
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| 7 | Tiento sobre la Pavana real | 1:31 |
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Enríquez de Valderrábano ComposerSoneto a manera de dança Work
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| 8 | Soneto a manera de dança | 1:57 |
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| 9 | Cinco Diferencias sobre Conde Claros | 10:17 |
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| 10 | Pavana con su glosa, improvisation after Henestrosa | 2:35 |
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Luis Venegas de Henestrosa ComposerMundo, qué me puedes dar?, canción Work |
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| 11 | Mundo, qué me puedes dar?, canción | 2:56 |
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Antonio de Cabezón ComposerDiferencia Sobre 'La Gallarda Milanesa' Work |
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| 12 | Diferencia Sobre 'La Gallarda Milanesa' | 2:43 |
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| 13 | Unum colle Deum, fugue for 40 voices | 2:02 |
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Luis Venegas de Henestrosa ComposerMíralo cómo llora, canción Work
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| 14 | Míralo cómo llora, canción | 1:04 |
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Enríquez de Valderrábano ComposerPara discantar Work |
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| 15 | Para discantar | 3:17 |
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Juan Vasquez ComposerDe los álamos vengo, madre, song Work |
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| 16 | De los álamos vengo, madre, song | 1:54 |
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Luys de Narváez ComposerBaxa de contrapunto Work
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| 17 | Baxa de contrapunto | 1:25 |
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Luis Venegas de Henestrosa ComposerTiento XVIII (after Cabezón) Work
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| 18 | Tiento XVIII (after Cabezón) | 5:52 |
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Plainchant ComposerCanto Ilano Work |
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| 19 | Canto Ilano | 0:40 |
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Antonio de Cabezón ComposerDuo Work
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| 20 | Duo | 2:07 |
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Luis Venegas de Henestrosa ComposerTres (after Cabezón) Work |
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| 21 | Tres (after Cabezón) | 1:39 |
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Luis Venegas de Henestrosa ComposerHimno a 4 (after Cabezón) Work
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| 22 | Himno a 4 (after Cabezón) | 3:05 |
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| 23 | Himno de canto Ilano (after Cabezón) | 1:53 |
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| 24 | Diferencias sobre Guárdame las vacas (Henestrosa's & Narváez's versions) | 2:58 |
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Luys de Narváez ComposerPaseávase el rey moro Work |
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| 25 | Paseávase el rey moro | 1:05 |
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Luis Venegas de Henestrosa ComposerPaseábase glosado (after Palero) Work |
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| 26 | Paseábase glosado (after Palero) | 0:58 |
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| 27 | Final, improvisation after Mudarra, Cabezón & Henestrosa | 3:29 |
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