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Las Espanas in CD

Harp cello and narrator

"El Renacimiento"
During the 17th, 18th and 19th centuries, Spanish music was constantly influenced by Italian fashions, and the composers became detached from folklore traditions. In the later 19th century however, the composer and teacher Felipe Pedrell (1841-1922) collected his Cancionero Musical Popular Español, an anthology of popular vocal and instrumental music. This work inspired a new generation of musicians, playwrights, painters and philosophers of the Spanish revival

[1] "Adela"* for harp, cello and narrator: Joaquín Rodrigo (1902 - 1999)
[2] "Pastorcito santo"* : Joaquín Rodrigo

poem: Lope de Vega (1562-1635)

[3, 4, 5] "La Maja Dolorosa" I II & III for harp and cello: Enrique Granados
[6] "El Majo Timido"* for harp, cello and narrator: Enrique Granados
[7] "El Majo Discreto"* for harp, cello and narrator: Enrique Granados

poem: Fernando Periquet y Zuaznabar (1873-1940)

[8] "Andaluza" for harp and cello: 'Enrique Granados

[9] "Serenata" for harp solo: Joaquín Malatz (1872 - 1912)

Seguida española for harp and cello: Joaquín Nin (1879 - 1949)
[10] "Vieja Castilla"
[11] "Murciana"
[12] "Asturiana"
[13] "Andaluza"

[14] "El Canto de los pajaros" for harp and cello: Joaquín Nin

Suite per Violoncello solo (1926) : Gaspar Cassadó (Barcelone 1897 - Madrid 1966)
[15] "Preludium y fantaisia"
[16] "sardana"
[17] "Intermezzo"
[18] "Danza finale"

sardana de Cassado

- Violoncelle: François-Xavier Bigorgne
- Harpe*: Agnès Kammerer
- Récitante**: Paquita Zapata,

- Narrator*: Paquita Zapata, Andalusian in origin, is like an Almodovar heroine with her mixture of fragility and energy, of passion and power. This extreme sensibility can be heard in her voice. On stage with her group, she sings Cuban standards, New York salsa hits and their own compositions, impregnated with groove and jazz.

- Harp**: Agnès Kammerer

**Agnès Kammerer obtained the first prize for the harp and a prize for chamber music at the Paris Conservatoire and is a laureate of the Cziffra Foundation. At present she teaches at the Poissy Conservatoire and regularly gives solo and chamber music concerts. She is a member of the ‘Paris Harp Quartet’ and has taken part in harp congresses in Vienna, Paris, Copenhagen and Prague, as well as in festivals and television programmes.

- Cello: François-Xavier Bigorgne

- A trade Mark by AmaCello
- Manager : Gérard Di Luccio
- montage / mastering: François-Xavier Bigorgne
- recordings: 2005
- livret en français / booklet in english / foletto en espanol
- Translation: Adam Stephenson et Maria Elena Hartung

enfants du mékong CAIXA BANK Bures-sur-Yvette city

- To buy a CD : price 13 Euros

- To come back Recording of CD's

The Harp: a historical sketch

In illuminated manuscripts, we see David tuning his harp, symbolising the achievement of universal harmony. The harp is probably the oldest instrument still played today. The first traces of it appear in China around 3000 BC. 500 years later, the Sumerians had a curved harp with six strings. Around 1000 BC, the Greek harp was triangular, and had about thirty strings. In Scandinavia, and then in the Celtic lands, the harp was highly prized throughout the Middle Ages, but it remained a relatively quiet instrument because it had no column. At the time of the Renaissance, harps often had three rows of strings and in the 17th century, pedals were introduced which allowed key changes. At the beginning of the 19th century, the piano maker Sébastien Erard (1752-1855) invented the double escapement mechanism which was adapted to the harp so that a pedal allows a note to be altered


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