Milano Spagnola: Para tecla y vihuela

Release Date: 9th Oct 2020
Catalogue No: A481
Label: Arcana
Length: 61 minutes

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Matthias Hermann Werrecore: La Bataglia Taliana: Secunda Pars

2:37

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Evangelina Mascardi, Maurizio Croci

anon.: La cara rossa del Berdolin

0:44

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Maurizio Croci

Cabezón, A: Au joli bois (From Johannes Lupi's Song)

2:50

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Evangelina Mascardi, Maurizio Croci

Valderrabano: Cuatro diferencias sobre la Pavana

3:19

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Evangelina Mascardi

Cabezón, A: Fabordones del premier tono Ilano

2:55

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Evangelina Mascardi, Maurizio Croci

Luis Milán: Fantasia de Tento

4:09

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Maurizio Croci

Valderrabano: Soneto lombardo

4:00

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Evangelina Mascardi, Maurizio Croci

Cabezón, A: Canción glosada "Triste départ" (From Nicolas Gombert's Song)

4:28

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Maurizio Croci

Borrono Milanese: Pavana chiamata "La Gombertina"

2:52

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Evangelina Mascardi

Cabezón, A: Diferencias sobre la Gallarda Milanesa

2:14

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Evangelina Mascardi, Maurizio Croci

Cabezón, A: Benedicta es regina caelorum (From Josquin Des Prez's Motet)

6:28

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Evangelina Mascardi, Maurizio Croci

Cabezón, A: Benedicta es regina caelorum

3:14

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Evangelina Mascardi, Maurizio Croci

Duo

2:04

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Tercera parte

1:10

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Luis Milán: Fantasia

2:57

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Maurizio Croci

Cabezón, A: Himno "Christe Redemptor omnium"

2:52

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Evangelina Mascardi

Cabezón, A: Ave maris stella, a tres

2:19

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Evangelina Mascardi, Maurizio Croci

Mudarra: Fantasìa X (que contrahaze la harpa en la manera de Ludovico)

2:00

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Evangelina Mascardi

Canova da Milano: Tiento de vihuela I

4:10

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Maurizio Croci

Cabezón, A: Tiento del quinto tono

2:41

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Evangelina Mascardi

Mudarra: Conde Claros

1:30

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Maurizio Croci

Cabezón, A: Diferencias sobre el canto de 'La Dama le demanda'

2:52

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Evangelina Mascardi, Maurizio Croci

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Antonio de Cabezón travelled across Europe visiting Milan in 1548 and his music influenced the great European composers. Contrary to keyboard instruments, lute and vihuela already have a vast repertoire in print. The combination of a keyboard instrument (tecla) with the vihuela (called 'viola da mano' in Italy) is common in the sources of Spanish influence of this period, which often bear the indication 'para tecla y vihuela'. Evangelina Mascardi and Maurizio Croci, established soloists on the international early music scene, explore the affinities, the contrasts and, in the words of an enthusiastic chronicler of the time, the 'unheard of imitations' that arise from the dialogue between the two instruments.

Milano Spagnola: Para tecla y vihuela

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