The baroque spirit in all his musical shapes. A double episode this time, with modern works, inspired by early music and played on historic instruments. Part 2: the Misa Criolla of Ariel Ramírez.
Marco Beasley and Guido Morini
Guido Morini (1959) / lyrics: Marco Beasley (1957)
1. Solve et Coagula, part 2:
XI. Compianto del Cristo Velato
XII. La Formula
XIII. Le Macchine Anatomiche
XIV. I Lazzari
XV. L’Angelo
XVI. Il Testamento di Raimondo di Sangro
XVII. Venerdi
Marco Beasley, tenor. Accordone conducted by Guido Morini, harpsichord: Elisa Citterio and Rossella Croce, violin. Gianni Maraldi, viola. Marco Frezzato, violoncello. Vanni Moretto, double bass. Franco Pavan, theorbo
(CD Solve et Coagula. ALPHA 537, 2014)
The Misa Criolla, the best-known work of Argentinian composer Ariel Ramírez, was composed in 1964. It’s written in a fashion of baroque, still alive in some parts of Latin America.
Trad. (Venezuela, 20th century)
2. Tono de la Virgen
Juan Bautista Comes (1582-1643)
3. Gozos a Nuestra Señora de la Antigua
Juan de Araujo/Anonymous (Bolivia, 18th century)
4. Kyrie. Pater exaudi nos
5. Tres Bailecitos:
– Campanitas (A. Domínguez)
– Ciruelita (G.A. Valdebenito)
– Bailecito (trad. Bolivia)
Ariel Ramírez (1921-2010)
6. Misa Criolla (1964)
– Kyrie
– Gloria
– Credo
– Sanctus
– Agnus Dei
Música Temprana conducted by Adrián Rodríguez Van der Spoel
(CD Misa Criolla and popular devotion in Early Music, Cobra Records Cobra 0044, 2014)
Supplement:
Anonymous (Portugal, 1647)
7. Sã qui turo zenta pleta
Música Temprana conducted by Adrián Rodríguez Van der Spoel
