Songs in this series. 1. ¿Con qué la lavaré? 2. Vos me matásteis; 3. ¿De dónde venís, amore? 4. De los álamos vengo, madre. Composer; Performances. [translations by John Glenn Paton]. Cuatro Madrigales Amatorios () [ anonymous]. Joaquin Rodrigo. ¿Con qué la lavaré? (–). Vos me matásteis. Cuatro madrigales amatorios (). Compose date: Duration: 8′. Editor: Chester. Orchestration: soprano 2 (1) 1 0 1 1 0 0 Str. Versions: Original for voice.
|Published (Last):||6 March 2005|
|PDF File Size:||9.19 Mb|
|ePub File Size:||8.1 Mb|
|Price:||Free* [*Free Regsitration Required]|
Sexy Trippy All Moods. Nothing kadrigales in Rodrigo’s catalogue is more heavily influenced by folk music than his “Cuatro Madrigales Amatorios”.
Songs from the Exotic. Rainy Day Relaxation Road Trip. This may seem to be at odds with the “popular” focus of art in the Golden Age – however, during this time it was a philosophy embraced as much by the upper class as much as it was by the Spanish citizens. It is an ambiguous history which proves the practice of adaptation in music composition.
The text repeats and gradually adds more lines, eventually unfolding a complete image in which the mother is urged to go to see the popular trees in Seville, where the amatorioe beautiful girlfriend lives. The melody itself has a lively Latin folk flavor accompanied by “wrong-note” tone clusters and tinkling motoric patterns. The Maiden and the Nightingale: Homenaje a Joaquin Rodrigo. The above performance showcases the tragic nature of the music.
Introspection Late Night Partying. Share on facebook twitter tumblr.
There is an ecstatic joy and a kind of teasing to the repetition of the text which continually inquires as to the direction a beloved one is going: This led to a fascination with, and romanticization of, “peasant” music in the royal court.
The fourth madrigal, De donde venis, amore? These underscore the text, which urges a mother to go to a stand of poplar trees. Jazz Latin New Age. The text, which is only four lines long, is repeated in isolated phrases and reharmonized, taking on a surreal character as a result of this obsessiveness.
Songs and Madrigals for Soprano and Orchestra. Fuenllana wrote his three madrigals as part of his “Orphenica Lyra”, which was composed for the court of Prince Phillip II.
Themes of anguish and pain seemed to be characteristic of the Golden Age; in a time when arts and literature were flourishing, it became fashionable to share in the hardship experienced by the lower class. Composed inthis collection of four love songs is drawn almost entirely from 16th century vocal music.
Beautiful Dorian-mode harmonies begin the work.
Genre Vocal Music Classical. Drinking Hanging Out In Love. With what then shall I bathe?
Madrigales (4) amatorios, for voice & piano (or soprano & orchestra)
Indeed, it was during a time of intense pain that he composed part of his most recognized piece, the Concierto De Aranjuez. Songs from madrigalea Soul. Powered by Create your own unique website with customizable templates. This renewed focus on the citizenry, rather than the aristocracy, had a profound influence on the music being composed at the time.
This is a popular method of bringing a traditional work into the modern age. Works were no longer solely written for court use; in the 16th century there can be found a wealth of folk music very much oriented towards the Spanish peasant.
Fuenllana modernized these songs by rewriting them for vihuela, while Rodrigo casts them in a more contemporary light by orchestrating them for an ensemble befitting the 20th century, with a full orchestra sound complete with strings and winds. All three of these were originally written by Miguel de Fuenllana. There is a steadily increasing Spanish-style melisma and skips of a perfect fourth in those passages that refer to the swaying of the trees in the wind.
Streams Videos All Posts. Shall it be “timidly From where have you come beloved?
Cuatro Madrigales Amatorios –
Sur Les Ailes du Chant. Romantic Evening Sex All Themes.
En Aranjuez con tu amor. Given the romantic, sweeping hyperbole of the music “Long haired maiden, You have made me die” it is clear why the sort of sentiment popularized by the Golden Age captured the imagination of all men and woman, regardless of class.