Il Barbaro Dolore

This is an evocative journey through the vocal music of 18th century Spain, recreating treasures composed by Martín y Coll, Terradellas and Farinelli, showing the peculiar characteristics of Spanish music in the first century of the bourbon dynasty in Spain. It stood apart from the music being composed elsewhere in Europe.

OUT OF STOCK – Only digital download


REF.: CDM 0306
EAN 13: 8216116203064

Edited : 11/09/2003

Carles Magraner

Sound engineering, mixing and edition: Alfonso Ródenas and Jorge G. Bastidas. In collaboration with David Antich.

Cover: Initial of Virgilio’s Los Doce libros de la Eneida. Series: Obras del siglo XVI. Biblioteca Valenciana.

Graphic design: Annabel Calatayud

Legal deposit: v-97-2003

DDD: 60’15”

Capella de Ministrers
Carles Magraner, director
Ruth Rosique, soprano

Fernando Paz, flauta
Agostin Cirillo, flauta
Mariette Holtropp, violín
Silvia Mondino, violín
Carmen Gutiérrez, viola
Carles Magraner, violoncello
Octavio Lafourcade, guitarra barroca
Juan Ruiz, violone
Ignasi Jordà, clave

Antonio Martín y Coll:
“Suite Española” (Madrid, 1706)
1. Matachina
2. El Villano
3. Bayle di Dama
4. Españoleta
5. Las Vacas
6. Folía

Nicola Conforto (1718-1788):
“Misera donna son…” Cantata para soprano
7. Recitativo
8. Aria

Domingo Terradellas (1713-1751):
“L´augelin che in lacci stretto…” De la ópera La Merope (Roma, 1743)
9. Recitativo
10. Aria

Joan Baptista Pla (h. 1730-1785):
“Concierto favorito” para dos flautas y cuerda (Londres, h. 1765)
11. Allegro
12. Largo
13. Allegro

Carlo Broschi, Farinelli (1705-1782):
“Ogni dì molesto…” Cantata para soprano (Madrid, 1753)
14. Recitativo
15. Aria

Anna María Martínez (1744-1812):
“Perchè, compagne amate…” recitativo y Aria de la cantata para soprano
16. Recitativo
17. Aria

1 CD 60:15 DDD

Despite the incipient and productive interest that in recent years has awakened among some musicologists and performers, we can say that Spanish music of the eighteenth century continues to be one of the great unknown to the average amateur. The lack of quality recordings, derived in numerous occasions from the lack of musical transcriptions of the original scores, has contributed greatly to overshadow a panorama that in itself was already quite dark until very close dates. However, the appearance of compact discs like the one that CDM now presents to us not only comes to try to rectify the historical debt with our immense and still unexplored musical heritage, but it also confirms the excellent quality of many of the scores that up to now have remained in the silence of archives and libraries.

The Valencian cellist Carles Magraner, who has made for this recording a magnificent work of revision and transcription of the original scores, puts himself at the head of the Capella de Ministrers to offer us an interesting and attractive tour through the musical art of the Spain of the first Bourbons, a fascinating time full of political, cultural and artistic challenges. Names such as those of Martín and Coll, Carlo Broschi Farinelli (1705-1782) and Nicola Conforto (1718-1788), Italians these last two by birth, but Spanish by adoption, Joan Baptista Pla (1730-1785), Anna María Martínez (1744-1812), an excellent composer of Spanish father although trained in Vienna, and above all, Domingo Terradellas (1713-1751), author endowed with exceptional musical qualities that led him to develop in Italy an operatic career similar to the of the great Jommelli, and for those that deserve more than a monographic record, exemplify to perfection the evolution experienced by Spanish music in the eighteenth century, from the still baroque style of the Spanish Suite (1706) by Martin and Coll, to the gallant and sensual from the other authors, where the bright arias and the singing movements of Pla’s favorite concert (around 1765) remind us a lot of the great masters of Viennese classicism.

The Capella de Ministrers has managed to become in recent years one of the most important historicist musical formations on the national scene. His interpretations, whether they address the medieval, Renaissance or Baroque repertoire, are the consequence of serious and constant work and therefore are full of eloquence and philological rigor. The quality of its instrumentalists, including names such as Fernando Paz on flutes, Octavio Lafourcade on baroque guitar or Ignasi Jordà on organ, now joined by the charming voice of Ruth Rosique, one of the most promising Spanish sopranos, makes us expect with genuine impatience future incursions into the rich and unknown eighteenth-century Spanish musical legacy.

A new success of the Capella de Ministrers.

Francisco de Paula Cañas Gálvez

Additional information

Weight 300 g