Muy hermosa es María (2018)

Antonio Jose Estevez Aponte, Joseph Hortunyo, Anonymous, Juan Cabanilles, Manuel Blasco, Traditional, Santiago de Murcia

Musica Temprana

Adrian Rodriguez Van der Spoel

Muy Hermosa es María 

The loose papers discovered in the Archive of the Diocesan Administration of Ibarra by Jorge Isaac Cazorla in the north of Ecuador containing villancicos from the late 17century are the tip of the iceberg of an output which clearly must have been great. Everything within the historic centre of Quito, declared a World Heritage Site by UNESCO, with its 40 churches & 16 monasteries and more than 5000 heritage buildings points to a rich musical heritage. Sadly many of the musical archives have been pillaged or lost due to natural disasters, moves, carelessness and other factors. 

The Ibarra works are religious vocal music with instrumental accompaniment. Except for the Latin prayer for seven voices Sacro Sanctæ, the other compositions are villancicos in Spanish in the 17century Spanish tradition, with an unmistakable element of popular music. The religious metaphors used stereotyped characters speaking slang, making it easier for listeners at the time to understand and identify them. In the period when these works were sung (around 1700), the number of voices, complexity and length of villancicos began to increase and they continued to draw on popular genres, just as they had since the beginning of the Renaissance. 

Little is known about the work of women during the colonial period as the patriarchal society has always focused on male composers. The Ibarra manuscripts support the idea of a rich musical life in the convents. The prolific literary activity in Quito makes it very plausible to say that many of the texts preserved were sung ánd written by nuns as the parts found at Ibarra speak constantly of women. It is a key element for Música Temprana that through this album the anonymous women of the convents receive the recognition they deserve. 

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Musica Temprana

Started in 2001 by the Argentine-Dutch musician Adrián Rodríguez Van der Spoel, Música Temprana aims to highlight the Latin-American Baroque music repertoire. Most of Música Temprana’s repertoire comes from the archives, cathedrals and Jesuit missions of Latin America, into whose depths its director constantly delves for elusive, forgotten compositions. Woven throughout the fabric of Música Temprana’s music and instruments is the rich cultural diversity of Latin America, with the threads of many Creole, Indian, African and European influences (see also: Programmes).

Being prepared for next season (2010-2011) is Cantadas y Sonatas, a programme highlighting the strong Italian influence in post-1713 Latin American Baroque music. Alongside this repertoire – the basis of Música Temprana’s work – the ensemble increasingly embraces Spanish and Italian Renaissance and Baroque music. At the Utrecht Festival Oude Muziek in 2008, for example, Música Temprana presented a staged perfomance of ensaladas written by Mateo Flecha a.o. and for 2011-2012 a madrigal comedy based on Banchieri’s Il Festino is in the works.

Música Temprana has played at such prestigious festivals as the Festival Oude Muziek (Utrecht), Aqua Musica Amsterdam, Musica Sacra Maastricht, Laus Polyphoniae in Antwerp, the International Renaissance and Baroque Music Festival of Chiquitos in Bolivia and festivals in Finland, France and Sweden. The ensemble has given various concerts in Muziekgebouw aan ‘t IJ (Amsterdam) and plays in its own concert series.

Adrian Rodriguez Van der Spoel

'To perform Latin-American Baroque music requires another practice than that of playing European Baroque. It would otherwise be too forced, too academic. Our repertoire needs a profound knowledge of the rich folk music tradition of Latin America, and a clear insight into the character, temperament, thinking and uniqueness of the continent in general. I play this music just as I play traditional music, with the same natural flow. It is this that I love to share with my audience.

Adrián Rodríguez Van der Spoel (1963) grew up in Rosario, the second largest city of Argentina. Already at a young age he develops a preference for folk and early music. After completing a music education in Rosario, he follows a course in choir conducting in Buenos Aires. As a member of the wellknown early music ensemble Pro Música, he learns to play various instruments. In 1989 he leaves for The Netherlands, where he continues his music studies at the Sweelinck Conservatorium, Amsterdam: first choir conducting and composition with Daniel Reuss and Daan Manneke, then specializing in Early Music with Jos van Veldhoven and Paul van Nevel.

Adrián devotes much of his time to studying Latin-American Early Music. His continual search for the genesis and sources of this genre takes him to archives of former missionposts in Bolivia and to old Indian communities. Or lead him to scripts made by an 18th century Spanish bishop who noted down the songs from the streets of Trujillo, Peru, for the Spanish home front. In 1996 Adrián starts ensemble Música Temprana, his ambition being to perform this extraordinary but rarely played repertoire in Dutch and foreign concert halls. 
Besides Música Temprana, Adrián is leader of a number of choirs, and is frequently invited as guest conductor by various ensembles and for projects, in The Netherlands as well as abroad, e.g. Japan. Also, he regularly conducts major baroque works such as J.S. Bach's Passions, or operas such as Francesca Caccini's La Liberazione di Ruggiero dall' Isola d'Alcina. He is guest conductor of ensemble Promusica de Rosario, Argentina, and at Rosario's Bach Festival. In 2005 he conducted chamber opera Don Quichote performed by I Piccoli Holandesi, and received favourable reviews for his performance of Thomas Tallis's Motet for 40 Voices, Spem in Alium, at the opening night of the Festival Oude Muziek


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Muy hermosa es María (2018)

Antonio Jose Estevez Aponte, Joseph Hortunyo, Anonymous, Juan Cabanilles, Manuel Blasco, Traditional, Santiago de Murcia

Musica Temprana febr 2019 -

"Gesungen wird schwungvoll, ohne viel Vibrato, man hört gern zu und möchte mehr über die Texte und die Entstehung der Lieder erfahren – die meisten im Wechsel zwischen Strophen und Refrain, einige im strengen vierstimmigen Satz und eher an Madrigalen orientiert, andere im tänzerischen schnellen Dreivierteltakt. Und da wird der Hörer doch sehr allein gelassen. Er erfährt nicht, dass die Villancicos in Spanien ursprünglich Lieder des Volkes waren (‚villano‘), mit Texten in teilweise recht drastischem Dialekt. Diese Art des Singens wurde im Barock schließlich auch für kirchliche Lieder übernommen und da ganz besonders für Lieder der Weihnachtszeit, die ja mehr als andere kirchliche Feiertage dem Volk nahesteht."

Elisabeth Deckers[read full review]

    Music Frames, dec 2018

Opmerkelijk zijn de vocale kwaliteiten van Música Temprana. De vocalisten, die variëren van sopraan tot bas, zijn van grote klasse. Het subtiele gebruik van vibrato, de fraaie gekleurde samenklank en muzikale souplesse zijn adembenemend mooi. De begeleiding varieert in bezetting van Barok-harp, Barok-gitaar, viool, orgel en dulcián (soort fagot). Deze uitstekende musici maken van ‘Muy Hermosa es Maria’ (Maria is mooi) een religieus feest waar een schoonheid en rust vanuit gaat waar je stil van wordt in deze hectische wereld..The vocalists, who vary from soprano to bass, are of great singers. The subtle use of vibrato, the beautiful colored resonance and musical flexibility are breathtaking, beautiful and very professional. The accompaniment varies in line with Baroque harp, Baroque guitar, violin, organ and dulcián (kind of bassoon). Great and competent musicians turn ‘Muy Hermosa es Maria’ (Maria is beautiful) into a religious festivity that makes you silent in this hectic world.

Mattie Poels[read full review]

    Musica dei donum, dec 2018

For this Adrián Rodríguez van der Spoel has brought together an exquisite ensemble of singers, whose voices are perfectly suited to this repertoire. They show great flexibility with regard to rhythm, and sensitivity towards the texts and the overall content of the pieces selected for this recording. As in most pieces two or more voices sing together, a perfect blending is of great importance, and in that respect this recording leaves nothing to be desired. Although this disc has more to offer than music for the Christmas period, I decided to review it for this time of the year, as Christmas villancicos play a major role in the programme. I greatly enjoyed the live performances last year and this disc gave me the opportunity to relive that experience. It will certainly give you much pleasure during the last weeks of the year, and beyond.

Johan van Veen[read full review]

    Opus Klassiek, dec 2018

It is not only a matter of extracting and propagating precious music, but also of inspiring music making and related technical mastery. Música Temprana can also count theirselves among the world's best and in this new album again generously shares their testimony. The baroque sounds from Ecuador from around 1700 also thrive in the vocal and instrumental refinement of this vocal and instrumental ensemble. The sung texts are included in the neatly arranged booklet with lots of background information both in the original and in English. The caring hand of recording technician Tom Peeters is unmistakable, with an 'obra maestra' as a result. In short, go on a voyage of discovery and be rewarded! =============================== =============================== Een conduitestaat dus om de vingers bij af te likken. Maar dat is niet alleen een kwestie van het ontginnen en propageren van kostelijke muziek, maar ook van zeer inspirerend musiceren en daarmee verbonden het technisch meesterschap. Música Temprana mag zich danook tot de wereldtop rekenen en legt in dit nieuwe album daarvan wederom ruimhartig getuigenis af. Ook de barokklanken uit het Ecuador van rond 1700 gedijen uitstekend bij het vocale en instrumentale raffinement van dit vocale en instrumentale ensemble. De gezongen teksten zijn zowel in de oorspronkelijke als in het Engels in het keurig verzorgde boekje met veel achtergrondinformatie opgenomen. De zorgzame hand van opnametechnicus Tom Peeters is weer onmiskenbaar, met een 'obra maestra' als resultaat. Kortom, ga op ontdekkingsreis en zult worden beloond!

Aart van der Wal[read full review]

Muy hermosa es María (2018)

Antonio Jose Estevez Aponte, Joseph Hortunyo, Anonymous, Juan Cabanilles, Manuel Blasco, Traditional, Santiago de Murcia

Musica Temprana

Cables: Acoustic Revive
Digital Converters: Hapi, Merging Technologies
Editing Software: Pyramix, Merging Technologies
Microphones: Brüel & Kjaer 4003, Neumann
Mixing Board: Rens Heijnis
Producer: Tom Peeters
Recording Engineer: Tom Peeters at Mediatrack
Recording location: Koepelkerk, Renswoude (The Netherlands) December 19-22, 2017
Recording Type & Bit Rate: DSD256
Speakers: KEF 105/3
Thanks To:

Adeline van de Kasteele, Arjan Hamburger, Elvira Willems, Fons van Esch, Gabriel Aguilera Valdebenito, Lida Zuidberg, Mario Godoy Aguirre, and Ruud Lambregts for their wonderful support.

We want to express our special thanks to Anna Ornstein, A.L. Gerritsen-van der Plaats, Daniel Torres Tear, Instituto Cervantes Utrecht, Klop historical instruments, Wealtheon and all ‘Voordekunst’ crowdfunding contributors. Without their generous contributions the production of this CD would not have been possible.

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COBRA0068: Muy hermosa es María
00:57:42   Select quality & channels above
La chacona me piden
Manuel Blasco
00:04:43   Select quality & channels above
Vamos al lugar amor
00:02:59   Select quality & channels above
Ese viril con pan
00:03:47   Select quality & channels above
Santiago de Murcia
00:03:19   Select quality & channels above
Fuentes si naceis
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Celebre la tierra
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Oigan que da
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Traditional,Santiago de Murcia
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De uno en uno vayan entrando
Manuel Blasco
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Paseos 6o tono
Juan Cabanilles
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Muy hermosa es Maria
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Sacro Sanctae
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Seguilda marineros
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Vamos todos a ver
Joseph Hortunyo
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Tonada de ordenyo
Antonio Jose Estevez Aponte
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