A beautiful concert titled “Music in the Court of Carlos V”, by the early music ensemble Orphénica Lyra (focused on the Spanish repertoire of the Renaissance and Baroque). Conductor: José Miguel Moreno, the Spanish specialist of historical plucked string instruments, such as the vihuela, lute, theorbo, and guitars. Concert recorded on September 20, 2000, in the church of Saint-Leu, Amiens (France), within the “XIII Festival des Cathédrales Picardie”.
- Nuria Rial (Soprano)
- Carlos Mena (Countertenor)
- Guido Balestracci (Viola da gamba/soprano)
- Alba Fresno (Viola da gamba/tenor)
- Ventura Rico (Viola da gamba/bass)
- Eligio Quinteiro (Guitar)
- Fernando Paz (Flautas)
- Pedro Estevan (Percusión)
- José Miguel Moreno (Vihuela and conductor)
- Diego Pisador : Romance de Abindarráez: “La mañana de San Juan” (“Libro de música de vihuela”, S. XVI)
- Cristóbal de Morales- Fuenllana : De Antequera sale el moro (“Orphénica Lyra”, S. XVI)
- Claudin de Sermisy- Fuenllana: Tan que vivray (“Orphénica Lyra”, S. XVI)
- Anónimo : Rodrigo Martínez (“Cancionero de Palacio”, S. XV/XVI)
- Diego Ortiz : Dos ‘Recercadas’ (“Tratado de Glosas”, S. XVI)
- Anónimo : Al alva venid (“Cancionero de Palacio”, S. XV/XVI)
- Luys de Narváez : Diferencias sobre Guárdame las Vacas (“Los seys libros del Delphin”; S. XVI)
- Anónimo : Dindirindin (“Cancionero de Montecassino”, S. XV)
- Mateo Flecha “El Viejo” : Buscad d’ hoy más (Ensalada “La Justa”) (“Las Ensaladas de Flecha”, S. XVI)
- Mateo Flecha “El Viejo” : Ande, pues, nuestro apellido (Ensalada “La Bomba”) (“Las Ensaladas de Flecha”, S. XVI)
- Giacomo Fogliano : L’ amor, dona, ch’ io te porto (“Cancionero de Palacio”, S. XV/XVI)
- ¿Alonso Mudarra : Romanesca? (“Tres libros de música en cifra para vihuela”, S. XVI)
- Diego Ortiz : Recercada segunda sobre el passamezzo moderno (“Tratado de Glosas”, S. XVI)
- Mateo Flecha “El Viejo” : ¡Assí, assí, cuerpo de nos! (Ensalada “El Iubilate”) (“Orphénica Lyra”, S. XVI)
- Juan Vásquez- Fuenllana : Duélete de mi señora (“Orphénica Lyra”, S. XVI)
- Juan Vásquez- Fuenllana : De los álamos vengo (“Orphénica Lyra”, S. XVI)
- Juan Vásquez- Fuenllana : Morenica dame un beso (“Orphénica Lyra”, S. XVI)
- Juan del Encina : Más vale trocar (“Cancionero de Palacio”, S. XV/XVI)
- Juan del Encina : Si habrá en este baldrés (“Cancionero de Palacio”, S. XV/XVI)
- Alonso Mudarra: Fantasía X que contrahaze la harpa en la manera de Ludovico (“Tres libros de música en cifra para vihuela”, S. XVI)
- Anónimo : A los maytines era (“Cancionero de la Colombina”, S. XV)
- Anónimo : Niña y viña (“Cancionero de la Colombina”, S. XV)
- Juan del Encina : Oy comamos y bebamos (“Cancionero de Palacio”, S. XV/XVI)
Carlos V (Charles V) (French: Charles Quint; German: Karl V.) (24 February 1500 – 21 September 1558) was ruler of the Holy Roman Empire from 1519 and, as Charles I (Spanish: Carlos I), of the Spanish Empire from 1516 until his voluntary abdication in favor of his younger brother Ferdinand I as Holy Roman Emperor and his son Philip II as King of Spain in 1556.
Carlos V received a musical education commensurate with their status as sovereign: exquisite and complete, these qualities made her musical chapel exemplified the greatness of the sovereign, and that certain employees of his musicians as prestigious Cabezon were the bulwark of their cultural power.
As for his own musical training, it was broad enough in his youth as future musicians to choose their chapel and form the first Hispanic-Flemish chapel to the best of his time. The basic musical training came from the hand of his own family: his father Philip the Fair, aunt and first mentor Margaret of Austria, and Professor Enrique de Bredemers. Since leaving to be crowned king of Spain in 1517, he took with his flamenco-burgundy chapel-of Brussels, led by the musician Nicolas Gombert, which would specialize in voice polyphonic repertoire; however, for the creation and execution of instrumental music, he created another chapel composed exclusively of Spanish musicians, attached to the royal house of Castile.
With his marriage to Isabel of Portugal it was reached to form a new musical chapel formed by singers and Portuguese minstrels and Spanish, which was assimilated with the existing one in the royal court in Madrid which had belonged to the mother of Carlos I, Queen Juana la Loca. Outstanding Spanish musicians of this new chapel was the organist Antonio de Cabezon and teacher Matthew Fernandez, the harpsichordist Francisco Santiago Perez, the tuner Aloi, the Lope de Armento singers, Martin Lopez, Anton, Zorita, Arellano and Jose Espinosa and composers Bernal and Jorge de Montemayor.
José Miguel Moreno
José Miguel Moreno (Madrid, 1955) is a Spanish specialist of historical plucked string instruments, such as the vihuela, lute, theorbo, and guitars. In 1977 he won the First Prize of the Incontri Chitarristici di Garnano (Italy 1977) and later many awards for his recordings. He has undertaken recordings and live concerts with the renowned ensemble “Hesperion XX” and Jordi Savall as well as with his own formations La Romanesca and Orphenica Lyra – after the book Orphénica Lyra (1554) of Miguel de Fuenllana. He is also, with his brother violist Emilio Moreno, co-founder of the Spanish classical music label Glossa Music.
Moreno is one of the leading specialists of historical plucked string instruments, but with a repertory that extends from the 16th century to the present day. A co-founder of Glossa, he had previously recorded with Teresa Berganza for Philips and with Hespèrion XX for Astrée. As a soloist, as an accompanist or with his ensembles La Romanesca and Orphénica Lyra (focused on the Spanish repertoire of the Renaissance and Baroque), Moreno has made some of the signal recordings that have helped establish Glossa’s reputation: his groundbreaking album, The Spanish Guitar (1536-1836), for example, has sold in excess of 30,000 copies; other recordings have explored the musical worlds of Cervantes’ Don Quijote and of the painter Diego Velázquez. Moreno has also recorded Boccherini Guitar Quintets, accompanied by his brother Emilio’s La Real Cámara. More recently, he has – in the company of Eligio Quinteiro – dedicated albums to the music of John Dowland and Luys Milán. Over the years such recordings have also received substantial critical praise.
As well as performing on original instruments – vihuelas, Renaissance and Baroque guitars, lutes and theorbos as well as Romantic-era guitars – he has carried out extensive research into the building of early instruments of the lute and guitar family. Such research can be heard brought into practice on all his recordings for Glossa. Currently, in his workshop he is also constructing classical guitars.
Concerts, master classes and conferences have taken him all over the world, including North and South America, Asia and Australia, as well as frequent appearances in the concert halls of Europe, from the United Kingdom to Turkey and from Russia to Moreno’s native Spain. The Madrid-born guitarist’s musical versatility has also seen him perform recently the Fantasía para un gentilhombre by Joaquín Rodrigo.
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