(Del) Amor
‘Real’ 19th century Spanish song in a varied programme winningly performed
View record and artist detailsRecord 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
Magazine Review Date: 8/2003
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 |
Author: Andrew Lamb
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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