This is the second Naxos disc devoted to the so-called Guerra
manuscript. Apparently Naxos plans to record the complete collection
which includes 100 songs, all but two scored for solo voice
and basso continuo.
The name of the collection, in Spanish Manuscrito Guerra,
is derived from José Miguel de Guerra (1646-1722), scribe
of the Royal Chapel from 1677 to shortly after 1680. It is likely
that the manuscript was copied around 1680. The quality of the
paper and the precision with which the music was written suggests
that it was destined for royal or aristocratic circles. All
the songs are anonymous, but through a comparison with other
sources the composers of a number of songs could be identified.
It turned out that most of the main composers of secular songs
of the 17th century are represented.
These tonos humanos, as they are called in Spanish, were
written to be sung in the homes of wealthy citizens and the
palaces of the aristocracy, or were part of pieces for the theatre,
either plays with music or operas and zarzuelas. Most songs
comprise a number of stanzas (coplas) and a refrain (estribillo).
There are exceptions, such as La noche tenebrosa by Juan
Hidalgo, although every stanza ends with the same lines: "in
sleep forgets his (her) sadness". There is no fixed structure
and the way the refrain is used can differ from one song to
the other. In the anonymous Pues quiero la pena the refrain
comprises three lines. Every stanza ends with the last line
of the refrain, and only at the end is the whole refrain repeated.
In his liner-notes José Ángel Vilas Rodriguez
sums up the features of the tonos humanos: "precise and
regular rhythms, clear melodies and harmonies aiding textual
articulation, a tendency towards syllabic style, an absence
of Italianate virtuosic vocal ornamentation and limited use
of freer, recitative-like passages". A example of recitative-like
episodes is to be found in the opening lines of Manda la
piedad divina. The strophic texture also implies that it
is impossible to depict every single word in the music. Even
so it is striking to hear how well the music fits the text.
It is up to the interpreters to perform the songs in such a
way that the content and the mood of every stanza is communicated
to the listener. Some songs are quite theatrical, such as Hidalgo's
Ay de mi dolor, especially the refrain.
Juan Sancho, Eligio Luis Quinteiro and Manual Vilas do a great
job in this respect. Through differentiation in tempo and dynamics
and a truly rhetorical treatment of the text they manage to
convey the expression of the various songs in a most eloquent
manner. The subjects of these songs may often be more or less
the same - the trials and tribulations of love -, but there
is much differentiation in the way it is treated, both in text
and music. That is well reflected in the way these three artists
perform this repertoire. Among the highlights are Hidalgo's
La noche tenebrosa, ¿Amante ausente y triste?
by either Hidalgo or José Marin and the anonymous Yo
Songs like these are relatively unknown. That makes this disc
most welcome. Fortunately this time English translations are
available, in contrast to the first volume which I reviewed
on my own site. I urge every reader to explore this repertoire.
These discs offer an exellent opportunity to get to know it
at budget price. This disc is full of gems, and I am pretty
sure that once you have heard them you will be longing for more.
Johan van Veen
Niña si encontrares [3;24]
Juan HIDALGO (1614-1685)
Ay de mi dolor [4:33]
Dichoso yo que adoro [3:14]
Frescos airecillos [5:07]
Que las rosas de suyo [3:35]
¿A quién me quejaré? [4:55]
Cuando puede en lo amante [2:56]
Suma belleza [2:35]
La noche tenebrosa [6:16]
Calla, no cantes [2:27]
Pues quiero la pena [2:53]
Manda la piedad divina [3:00]
Juan DE NAVAS (c1650-1719)
Pero bien haces [6:33]
? Juan HIDALGO /?
José MARIN (1619-1699)
Amante ausente y triste [2:29]
¿Cómo ha de saber Belilla? [2:41]
Yo joven [3:30]
No cantes Filomena [4:45]