La Muwassaha

Al Turath Ensemble

THE ANDALUSI WASLAH OF ALEPPO, SYRIA   WASLAH Awaslah is the performance of up to eight muwashshahát (plural of muwashshaha) in succession together with an instrumental introduction. Common to all sections of such a waslah cycle is the principle maqám row, whereby the combination of pieces can comprises the works of several poets and composers. The muwashshah composition played at the beginning of a cycle may have a longer longer wazn than the muwashsahát that follow. A total of 22 waslát (plural of waslah) are known in Aleppo, each of them named according...+ info

Poder á Santa María

Sinfonye

Conductor: Stevie Wishart

THE MUSIC AND PERFORMANCE OF THE CANTIGAS The melodies of Alfonso's Cantigas tend to be more predictable and forward moving in comparison to the cansos of the Troubadours. They are more reminiscent of the provençal dansas with easily memorable, short-ranging phrases which suggest strong metrical feels even short though the rhythm is often ambiguously notated in the Cantigas manuscripts. The musical form of the Cantigas a is remarkably consistent, usually with the second half of the stanza sharing the same melody as the refrain, as in the French virelai. In contrast to this lengthy m...+ info

Julian Arcas

María Esther Guzmán, guitarra

AN EVENTFUL LIFE Julián Gabino Arcas Lacal was bo.rn in María (Almería) on 25th October 1832. His father, Pedro Arcas, was a good amateur guitarist who followed the work of Dionisio Aguado and his school. At an early age he was to start teaching his sons Julian and Manuel, both of whom immediately showed a natural affinity for the instrument. When Julián is 12, the Arcas family moves to a Malaga, perhaps attracted by the economic boom the city was then experiencing. Here, he is taught by José Asencio, Dionisio Aguado's favourite guitarrist, who was capitali...+ info