(Del) Amor

‘Real’ 19th century Spanish song in a varied programme winningly performed

Record and Artist Details

Composer or Director: Ramon Carnicer, Mariano Rodriguez de Ledesma, Marcial del Adalid, Lázaro Núñes Robres, Manuel (del Pópulo Vicente Rodríguez) García, Anonymous

Genre:

Vocal

Label: Harmonia Mundi

Media Format: CD or Download

Media Runtime: 65

Mastering:

Stereo
DDD

Catalogue Number: HMI987032

Tracks:

Composition Artist Credit
A sorte Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Canto de berce Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Frouseira, triste Frouseira Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Los dos miedos Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Non te quero por bonita Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Soedades Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Petit riens Nos 1 - 4 Marcial del Adalid, Composer
Marcial del Adalid, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
O sí, o no Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Las señas del amor Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Ya tengo dueño Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Placido zeffiretto Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Se mai turbo Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Un fanciullin tiranno Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
In te spero, o sposo amato Mariano Rodriguez de Ledesma, Composer
Mariano Rodriguez de Ledesma, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
tres odas anacréonticas, Movement: De sí mismo (oda I) Ramon Carnicer, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Ramon Carnicer, Composer
tres odas anacréonticas, Movement: A una muchacha (oda II) Ramon Carnicer, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Ramon Carnicer, Composer
tres odas anacréonticas, Movement: Del amor y la abeja (oda III) Ramon Carnicer, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Ramon Carnicer, Composer
Rosal Manuel (del Pópulo Vicente Rodríguez) García, Composer
Manuel (del Pópulo Vicente Rodríguez) García, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
El Caramba Ramon Carnicer, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Ramon Carnicer, Composer
El cigarro Lázaro Núñes Robres, Composer
Lázaro Núñes Robres, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
La caña Anonymous, Composer
Anonymous, Composer
Marta Almajano, Soprano
Michel Kiener, Piano
Authentic Spanish music too often takes second place to foreigners’ musical impressions of Spain, so here is a welcome opportunity to hear the genuine article in a charming collection of songs from around 1810 to 1880. The best-known composer here is probably Manuel García, father of singers Pauline Viardot and Maria Malibran, but the bulk of the items are by Mariano Rodriguez de Ledesma, described as the first musical Romantic in Spain, and Marcial del Adalid, whose songs were composed much later to Galician words.

Spanish music of the 19th century was heavily influenced by foreign models, and there’s often little beyond the language used to distinguish the music here from German Lieder, French mélodies or Italian canzoni. Indeed, there’s one group here by Rodriguez de Ledesma set to Italian words. The main exceptions, perhaps, lie in the lively rhythms of a Spanish-language group by the same composer, among which Las señas del amor is especially invigorating. As for Adalid, his simple but beautiful Los dos miedos is especially enchanting. In altogether lighter vein are the final two songs – an anonymous cautionary tale (La caña), and a delightful piece in Andalusian dialect by Lázaro Nuñez Robres in praise of Havana cigars.

Much of the appeal lies in Zaragoza-born Marta Almajano’s attractively dark, richly expressive and flexible soprano, which gives these varied songs depth of feeling and tremendous vitality. Michel Kiener provides excellent support on an 1813 Johann Fritz piano and also contributes four short solos in Adalid’s Petits riens.

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