Gotham Early Music Scene (4/13/23)

Cantos y Suspiros: Songs & Dances of 17th Century Spain

Camila Parias ~ soprano; Christa Patton ~ Baroque harp; Hideki Yamaya ~ Baroque guitar

Pajarillo que bien cantas ausente – Cristóbal Galán (1625–1684)

Passacalle de Proporzion por Octabo Tono (1702) – Diego Fernández de Huete (1657–1722)
Corazón que en prisión – José Marin (1619–1699)

Cumbees – Santiago de Murcia (1673–1739)
No te embarques, pensamiento – Juan del Vado (1615–1691)

Tiento (1557) – Anonymous
Rompa el aire en suspiros – Juan Hidalgo (1614–1685)

Folias Gallegas – Santiago de Murcia
La Borrachita de Amor – Sebastian Durón (1660–1716)

¡Al sarao, que el Amor...! – Anonymous
Canzona Francesa – Anonymous (arr. Christa Patton)

Otros Canarios – Santiago de Murcia
Canarios – Diego Fernández de Huete
Canario bona de rufa y fa/Canarios (1704) – Anonymous
Canarios (1674) – Gaspar Sans (1640–1710)

As you can see, there were many pieces on the program, so this will be more like a survey than information on each piece. Many composers were represented, though Anonymous made a pretty strong showing. All three performers were great. I’ve had the good fortune to have worked with Christa Patton, the harpist, in my days performing with New York’s Ensemble for Early Music (since renamed at least one time, if not more). The baroque harp is a smaller version of the harp you’re thinking of, though it is not hand-held and it does not have any pedals. The baroque guitar is lighter in sound and texture than modern guitars, though it did pack a wallop in one work. The soprano also contributed with a few light, hand-held percussion ornamentations.

Let’s start with the last grouping. It’s the only one that had a tune that I recognized, and it was a medley of four works played through as one composition. It opened with solo guitar, rhythmic and dance-like, then solo harp joined by guitar, joined by soprano. Next there was a section alternating back and forth between all three. In addition to me recognizing a tune, this was where the guitar was forceful and fun. It was a great way to end a concert.

The concert opened with all three performers in a lively, rhythmic, enjoyable strophic song. Verse, three mini-verses, repeat of the opening verse.

The third grouping was all instrumental with the guitar at the forefront, added harp, and light percussion (claves—round wooden boards tapped against each other).

The sixth grouping began with guitar and recorder (the harpist, switching gears) then the soprano alternating singing and playing the tambourine. Yes, they multitasked very well. The second of the two works in the grouping was lively though not harsh at all. You may be wondering about the groupings. It is a great way to indicate to the audience where appropriate applause could/would/should occur. I think it worked quite nicely.

ConcertMeister