Facultad Orgánica



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Facultad Orgánica
Francisco Correa de Arauxo


José E. Ayarra, órgano


FRANCISCO CORREA DE ARAUXO

(1584 - 1654)

FACULTAD ORGÁNICA I

LIBRO DE TIENTOS Y DISCURSOS DE MÚSICA PRÁCTICA Y THEORICA DE ÓRGANO INTITULADO FACULTAD ORGÁNICA (1626)

 

CD 1

ÓRGANO DEL MONASTERIO DE SANTA PAULA (Sevilla)

-Canto de la Inmaculada Concepción de la Virgen María. (LXVIII) 3'15"

-Segundo Tiento de Sexto Tono. (XXII) 4'38"

-SegundoTiento de Primero Tono. (XIV) 3'18"

-Tiento de Medio Registro de Dos Tiples de Segundo Tono. (LIII) 5'32"

-Tiento de Medio Registro de Baxon de Noveno Tono. (XXXVII) 4'15"

-Segundo Tiento de Medio Registro de Tiple de Séptimo Tono. (XXVI) 5'09"

-Tiento de Quarto Tono. (XV) 3'51"

-Tiento Segundo de Medio Registro de Tiple de Quarto Tono. (XXXIX) 4'43"

-Tiento de Medio Registro de Baxon de Noveno Tono. (XL) 5'37"

-Tiento de sexto Tono. (XXI) 3'40"

 

ÓRGANO DE LA REAL ACADEMIA DE BUENAS LETRAS (Sevilla)

-Tiento de Quinto Tono. (XX) 3'15"

-Tiento de Medio Registro de Tiple de Dozeno Tono. (XLI) 5'29"

-Sexto Tiento de Medio Registro de Baxon de Primero Tono. (XXXV) 3'50"

-Quinto Tiento de Medio Registro de tiple de Séptimo Tono. (XXIX) 4'50"

-Tiento de primero Tono. (XIII) 5'01"

 

Tiempo Total CD 1: 75'01"

 

El “Canto llano de la Inmaculada Concepción de la Virgen María" es cantado por el GRUPO VOCAL QUATTUOR.

 

CD 2

ORGANO DE LA REAL ACADEMIA DE BUENAS LETRAS (Sevilla)

-Siguense Diez y Seis Glosas sobre el Canto Llano "Guárdame las Vacas". (LXV) 8'24”

-Tercero Tiento de Quarto Tono. (XVII) 3'19”

-Tiento de Medio Registro de Tiple de Quarto Tono. (XXXVIII) 4'36”

-Primero Tiento de Medio Registro de Baxon de Séptimo Tono. (XXX) 8'56”

-Quarto Tiento de Quarto Tono. (XVIII) 4'36”

-Quinto Tiento de Quarto Tono. (XIX) 4'41”

 

ÓRGANO DEL MONASTERIO DE SAN CLEMENTE (Sevilla)

-Tiento de Medio Registro de Tiple de Séptimo Tono. (XXV) 5'21”

-Tiento de Medio Registro de Séptimo Tono. (XXVII) 5'44”

-Tiento de Medio Registro de Baxon de Séptimo Tono. (L) 4'07”

-Quarto Tiento de Medio Registro de Tiple de Séptimo Tono. (XXVIII) 6'35"

-Siguese la muy célebre canción "Susana". (LXI) 8'32”

 

Tiempo Total CD 2: 73'45”

 

CD 3

ÓRGANO DE LA IGLESIA DE SAN SALVADOR (Sevilla)

-Prosa de Santíssimo Sacramento. (LXVII) 6'30"

-Tiento de Primero Tono. (I) 6'31"

-Tiento y Discurso de Segundo Tono. (II) 6'10"

-Tiento y Discurso de Tercer Tono. (III) 8'23"

-Tiento de Quarto Tono. (IV) 6'27"

-Tiento de Quinto Tono. (V) 5'15"

-Tiento de Sexto Tono. (VI) 5'16"

-Tiento de Setimo Tono. (VII) 6'47"

-Tiento de Octavo Tono. (VIII) 8'34"

-Tiento de Noveno Tono. (IX) 7’21”

-Tiento de Décimo Tono. (X) 6'27"

 

Tiempo Total CD 3: 75'32"

 

La “Prosa del Santíssimo Sacramento" es cantada por el GRUPO VOCAL QUATTUOR.

 

CD 4

ÓRGANO DE LA IGLESIA DE SAN SALVADOR (Sevilla)

-Tiento de Undécimo Tono. (XI) 6'54”

-Tiento de Duodécimo Tono. (XII) 7'31”

-Siguense Tres Glosas sobre el Canto Llano de la Inmaculada Concepción. (LXIX) 3'5”

-Discurso de Medio Registro de Dos Baxones de Segundo Tono. (LV) 7'21”

-Siguese otro Tiento de Medio Registro de Dos Tiples de Séptimo Tono. (LIV) 6'3”

-Segundo Tiento de Medio Registro de Baxon de Séptimo Tono. (XXXI) 5'1

-Tiento pequeño y fácil de Séptimo Tono. (XXIV) 2'2”

-Tiento de Medio Registro de Tiple de Décimo Tono. (XXXVI) 4'39”

-Tercero Tiento de Baxon de Séptimo Tono. (XXXII) 4'59”

-Segundo Tiento de Quarto Tono "a modo de canción". (XVI) 5'43”

-Discurso de Medio Registro de Dos Baxones de Quarto Tono. (LVI) 6'3”

-Tiento Tercero de Sexto Tono "sobre la primera parte de la Batalla de Morales". (XXIII) 9'11

 

Tiempo Total CD 4: 72'10”

 

CD 5

ÓRGANO DE LA IGLESIA PARROQUIAL DE ALGODONALES (Cádiz)

-Tiento de Medio Registro de Tiple de Segundo Tono. (LIX) 9'36"

-Quinto Tiento de Medio Registro de Baxon de Primero Tono. (XXXIV) 4'17"

-Quarto Tiento de Baxon de Séptimo Tono. (XXXIII) 5'09"

-Tiento de Primero Tono. (LXII) 12'06"

-Tiento de Medio Registro de Baxon de Dezimo Tono. (LI) 4'30"

-Tiento de Medio Registro de Tiple de Setimo Tono. (XLV) 6'17"

-Segundo Tiento de Medio Registro de Tiple de Dozeno Tono. (XLII) 6'09"

-Tiento de Medio Registro de Tiple de Sexto Tono. (XLIV) 6'15”

 

ÓRGANO DE LA CAPILLA REAL DE LA CATEDRAL DE SEVILLA

-Canción Glosada "Dexaldos mi Madre". (LXIV) 11'32"

-Tiento de Medio Registro de Baxon de Duodécimo Tono. (XLIX) 5'23"

Tiempo Total CD 5: 71'14"

 

CD 6

 

ÓRGANO DE LA CAPILLA REAL DE LA CATEDRAL DE SEVILLA

-Tiento de Medio Registro de Tiple de Sexto Tono. (LXIR) 11'02

-Tiento y Discurso de Medio Registro de dos Baxones de Octavo Tono. (LVII) 6'28

-Tiento de Medio Registro de Tiple de Octavo Tono. (XLVII) 5'12

-Tiento de Registro Entero de Primero Tono. (LII) 9'38

-Tiento de Medio Registro de Tiple de Octavo Tono. (XLVIII) 4'24

 

ÓRGANO REALEJO DE LA IGLESIA COLEGIATA DE OSUNA (Sevilla)

-Canción de Tomás Crequilion llamada: Gaybergier. (LXVI) 4'34

-Tiento de Medio Registro de Baxon de Treinta y Dos números al Compás de Segundo Tono. (LX) 7'48

-Tiento de Madio Registro de Tiple de Setimo Tono. (XLVI) 4’55”

-Tiento de Medio Registro de Baxon de Sexto Tono. (XLIII) 3'10

-Tiento de Medio Registro de Tiple de Segundo Tono. (LVIII) 8'50

 

Tiempo Total CD 6: 66'01

 


About

THE ORGANIST FRANCISCO CORREA DE ARAUXO

Before the middle of the last century, when the versatile Hilarión Eslava in his Museo Orgánico Español detected "the stamp of originality" in the organist Francisco Correa de Arauxo, and described him js an "artistic genius", he had been forgotten since the last reference made to him in the first half of the 18th century by the maestro of the Real Capilla José de Tares. Since Eslava's reference, however, the work of the outstanding organ composer has come out of the shadows, and today Correa's work is considered among the most valuable that Spanish musical creativity has been able to produce.

The originality of Correa's work, together with its sparkling gifts of genius, come together as a paradigm of essence of the Hispanic soul, making him, as a result, the most Iberian and universal of the organists of his time in our native land. Francisco Correa de Arauxo is, therefore, one of the most outstanding figures of the stock of Spanish organists, and without doubt, the most important in his field in the history of the Andalusian people.

Leaving aside the false presuppositions made in the 19th century deformation of Correa's image, the accurate reconstruction of his life and development only began to take place a little less than five decades ago. Kastner made the first, thought-provoking contributions, and these were followed by the extremely valuable work of Stevenson, who was the pioneer in laying out the general pattern of Correa's career, and the no less valuable contributions of Llordén, Preciado, Ayarra, Jambou and the author of this biographical sketch.


PARADIGMATIC PRECEDENTS IN THE ORGAN PLAYING COMMUNITY IN 16th CENTURY SEVILLE.

The city of Seville and specifically its organ playing community were important and inseparable realities in the development and even the importance of the organ composer Francisco Correa de Arauxo. The environment of Seville, understood both as a physical space and as the benefactor of a long, rich tradition (in the best sense of the word) was the appropriate breeding ground for the precious gift of genius which the great composer Correa possessed for playing the organ.

"Port and Gateway to the Indies", to use the poignant phrase of Lope de Vega contained in "El Arenal de Sevilla", was the logical result of favourable factors which carne together after the discovery of the New World in 1492. This produced in the city of Seville, as well constant traffic of people, merchandise and wealth, paradigmatic effect on diffent fields of the Arts, and among them the different facets of the organ; Correa's art ff this mixture.

Such a paradigm in the world of the organ in the l6th century can be based fundamentally on the city Ordinances of 1527, the famous organ making and the professional statute of the cathedral organists, as well as areas that are sure signs of an active life of organ playing: the search for easy and precise ways to write down the notes in music, and the tremendous importance of relevant personalities from Ecija, just outside Seville - Friar Juan Bermudo and Luis Venegas de Henestrosa. We can but mention these last two aspects for reasons of space.


THE CITY ORDINANCES.

A notable measure of the activity of the craft industry in Seville is the regulation of access to the trade of stringed instrument maker, including claviorgan maker, such as is contained in the Ordinances of 1527, re-printed in the same terms in 1632. Although it is unsure to what extent this ordinance was put into practice, its survival over such a long period of time shows the interest that the city had in keeping the activity of the instrument maker's guild regulated, and also in maintaining the quality of the supply of claviorgans and other instruments, presumably including organs. For tax puposes, at least, stringed instrument maker and organ maker were included in the same bracket.