(A) Spanish SOngbook
View record and artist detailsRecord and Artist Details
Composer or Director: William Walton, Roberto Gerhard, Joaquín Rodrigo, Enríquez de Valderrábano, Robert Schumann, Miguel de Fuenllana, (Clément Philibert) Léo Delibes, Maurice Ravel, Enrique Granados (y Campiña), Anonymous, Fernando J Obradors, Jesús Guridi (Bidaola), Graciano Tarragó, Georges Bizet, Camille Saint-Saëns, Juan Vasquez, Hugo (Filipp Jakob) Wolf
Label: Classics
Magazine Review Date: 9/1994
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: CDCF243
Tracks:
| Composition | Artist Credit |
|---|---|
| Orphenica lyra, Movement: De los alamos (Vásquez) |
Miguel de Fuenllana, Composer
Jill Gomez, Soprano John Constable, Piano Miguel de Fuenllana, Composer |
| Orphenica lyra, Movement: Duélete de mí, Señora |
Miguel de Fuenllana, Composer
Jill Gomez, Soprano John Constable, Piano Miguel de Fuenllana, Composer |
| Morenica, dame un beso |
Juan Vasquez, Composer
Jill Gomez, Soprano John Constable, Piano Juan Vasquez, Composer |
| De dónde venís, amore? |
Enríquez de Valderrábano, Composer
Enríquez de Valderrábano, Composer Jill Gomez, Soprano John Constable, Piano |
| Pase el agoa, ma Julieta |
Anonymous, Composer
Anonymous, Composer Jill Gomez, Soprano John Constable, Piano |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Klinge, klinge, mein Pandero (wds. A. de Ameida, tl) |
Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer Jill Gomez, Soprano John Constable, Piano |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: In dem Schatten meiner Locken (trans Heyse) |
Hugo (Filipp Jakob) Wolf, Composer
Hugo (Filipp Jakob) Wolf, Composer Jill Gomez, Soprano John Constable, Piano |
| (3) Gedichte, Movement: Der Hidalgo |
Robert Schumann, Composer
Jill Gomez, Soprano John Constable, Piano Robert Schumann, Composer |
| Spanische Liebeslieder, Movement: Tief im Herzen trag ich Pein (S) |
Robert Schumann, Composer
Jill Gomez, Soprano John Constable, Piano Robert Schumann, Composer |
| Guitare |
Georges Bizet, Composer
Georges Bizet, Composer Jill Gomez, Soprano John Constable, Piano |
| Chants populaires, Movement: Chanson espagnole |
Maurice Ravel, Composer
Jill Gomez, Soprano John Constable, Piano Maurice Ravel, Composer |
| Guitares et mandolines |
Camille Saint-Saëns, Composer
Camille Saint-Saëns, Composer Jill Gomez, Soprano John Constable, Piano |
| (Les) Filles de Cadix |
(Clément Philibert) Léo Delibes, Composer
(Clément Philibert) Léo Delibes, Composer Jill Gomez, Soprano John Constable, Piano |
| (15) Tonadillas al estilo antiguo, Movement: La maja dolorosa |
Enrique Granados (y Campiña), Composer
Enrique Granados (y Campiña), Composer Jill Gomez, Soprano John Constable, Piano |
| Long Steel Grass (Noche espagnola) |
William Walton, Composer
Jill Gomez, Soprano John Constable, Piano William Walton, Composer |
| Through gilded trellises |
William Walton, Composer
Jill Gomez, Soprano John Constable, Piano William Walton, Composer |
| Cancionero de Pedrell, Movement: La mal maridada |
Roberto Gerhard, Composer
Jill Gomez, Soprano John Constable, Piano Roberto Gerhard, Composer |
| Cancionero de Pedrell, Movement: Muera yo |
Roberto Gerhard, Composer
Jill Gomez, Soprano John Constable, Piano Roberto Gerhard, Composer |
| Cancionero de Pedrell, Movement: Farruquiño |
Roberto Gerhard, Composer
Jill Gomez, Soprano John Constable, Piano Roberto Gerhard, Composer |
| Parado de Valldemosa |
Graciano Tarragó, Composer
Graciano Tarragó, Composer Jill Gomez, Soprano John Constable, Piano |
| (12) Cançiones populares españolas, Movement: Adela |
Joaquín Rodrigo, Composer
Jill Gomez, Soprano Joaquín Rodrigo, Composer John Constable, Piano |
| (6) Canciones castellanas, Movement: Mañanita de San Juan |
Jesús Guridi (Bidaola), Composer
Jesús Guridi (Bidaola), Composer Jill Gomez, Soprano John Constable, Piano |
| (El) Vito |
Fernando J Obradors, Composer
Fernando J Obradors, Composer Jill Gomez, Soprano John Constable, Piano |
Author: Patrick O'Connor
Jill Gomez's imaginative and wide-ranging survey of songs in Spanish, or by German, French and English composers on Spanish themes, opens with what one might call a 'Victoria de los Angeles group' of Renaissance songs. Gomez has something of that plaintive, Moorish-influenced expression that de los Angeles used to bring to this repertory. Miguel de Fuenllana's De los alamos vengo, madre (arranged and popularized in our own time by Rodrigo) and the anonymous Pase el aguo, Julieta, are examples of courtly poetry, heavy with erotic symbolism, which is so typical of Spanish song.
In the second 'Schwarzkopf group', two of Wolf's lighter essays in flirtation from the Spanisches Liederbuch frame Schumann's more obviously pastiche Der Hidalgo and then the deeply passionateTief im Herzen trag' ich Pein. The four French songs might have been a speciality of Ninon Vallin—but enough of comparisons with singers of the past, for Jill Gomez has her own style, with a marvellous feeling for words and for the shape and mood of each piece. The most substantial, and best-known, are the three Granados Tonadillas. These call, ideally, for a harsher, fuller voice than Gomez's but she deals with them in languorous fashion.
The two Walton songs are both lifted from Facade, one in an arrangement by the composer, the other by Christopher Palmer. I detect a hint of an Edith Sitwell impersonation in one or two phrases. These, and the three songs by Roberto Gerhard, provide the English part of the recital, for Gerhard made these arrangements of songs collected by his teacher, Felipe Pedrell, when he was living in Cambridge in the 1940s. In his informative notes in the booklet (full texts and translations are included), Patrick Carnegy points out that censorship in Spain in the Franco era denied much hearing of Jesus Guridi's music—the one song here is a little treasure—perhaps one day someone will investigate through a concert programme the legacy of Spain's exiles and silenced voices. The disc ends with one of the most famous Spanish encores—Obradors's El Vito. Even if you know all these songs already, but especially if this repertory is unfamiliar, this sunny CD will bring nothing but delight.'
In the second 'Schwarzkopf group', two of Wolf's lighter essays in flirtation from the Spanisches Liederbuch frame Schumann's more obviously pastiche Der Hidalgo and then the deeply passionate
The two Walton songs are both lifted from Facade, one in an arrangement by the composer, the other by Christopher Palmer. I detect a hint of an Edith Sitwell impersonation in one or two phrases. These, and the three songs by Roberto Gerhard, provide the English part of the recital, for Gerhard made these arrangements of songs collected by his teacher, Felipe Pedrell, when he was living in Cambridge in the 1940s. In his informative notes in the booklet (full texts and translations are included), Patrick Carnegy points out that censorship in Spain in the Franco era denied much hearing of Jesus Guridi's music—the one song here is a little treasure—perhaps one day someone will investigate through a concert programme the legacy of Spain's exiles and silenced voices. The disc ends with one of the most famous Spanish encores—Obradors's El Vito. Even if you know all these songs already, but especially if this repertory is unfamiliar, this sunny CD will bring nothing but delight.'
(A) Spanish SOngbook
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