The teares of the muses
Las lágrimas del dolor y de la felicidad


[Tears of pain and happiness]

Jordi Savall conductor
Hespèrion XXI
Jordi Savall soprano viola da gamba
Lixsania Fernandez tenor viola da gamba
Juan Manuel Quintana bass viola da gamba 
Xavier Puertas violone

The teares of the muses (1450–1700)
Hayne van Ghizeghem, De tous biens plaine (chanson)
Antonio de Cabezón, Differences on 'La dama le demanda'
Luis de Milan, Fantasia VIII
Antonio de Cabezón, Pavana with its gloss

Vincenzo Ruffo, La gamba in basso, e soprano
Gioseffo Guami, Canzona a 4 La Chromatica
Giovanni Maria Trabaci, Durezze e ligature
Biagio Marini, Passacaglio

Samuel Scheidt, Paduan a 4 Voc. (Cantus V) / Allemande / Courant dolorosa a 4 Voc. (Cantus IX) / Galliard a 4 voc. (Cantus VII)

Pedro de San Lorenzo, Folía: 1st tone work, No. 10  
Francisco Correa de Arauxo, Glosses on 'Todo el mundo en general' 
Joan Cabanilles, Obertura / Corrente italiana     

John Dowland, [Pavin] Lachrimæ antiquae
Anthony Holborne, [Galliard] The teares of the muses  
Marc-Antoine Charpentier, La Nuit (H. 416)                                               
Henry Purcell, Chacone

1.15 h (w/out intermission)

With the support of Departament de Cultura de la Generalitat de Catalunya and Institut Ramon Llull
photo ©Geri Born ©David Ignaszewski

“Following the invention of new bow  instruments based on the model of the hand-held vihuela that appeared in the south of Catalonia (Valencia) around 1450, the first true viola ensembles rapidly developed in the principal royal courts and cathedrals of Europe. In Spain, there is a specific tradition that dates back to the mid-16th century.
The title of the programme is taken from the melancholic ‘gaillarde’ The Teares of the Muses by Anthony Holborne, which is inspired by John Dowland’s famous 7 lachrimae (pavans).This great maestro reminds us that these tears are not always caused by pain, but at times are provoked by joy and happiness. In contrast, others such as the ones by Cabezón, Guami, Scheidt, San Lorenzo, Correa de Arrauxo and Charpentier , belong to the meditative religious genre (la nuit) or to the concertante genre (folia, obertura).   
The full spirit of the Renaissance and early Baroque shared all over Europe is concentrated in these pieces in which the most inspired and poignant muses have left their mark.
This programme seeks to pay tribute to all those musicians-poets deeply convinced that with music “it was possible to incite the soul to be strong and audacious, good and generous, traits that dignify the proper organisation of people. ”  Jordi Savall

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