Serpiente Venenosa


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Serpiente Venenosa

Orquesta Barroca de Sevilla
Conductor: Diego Fasolis

Serpiente Venenosa

“Música en las Catedrales de Málaga y Cádiz en el siglo XVIII”


Jayme Torrens (1741-1803), Serpiente venenosa (1771)

Aria de Concepción a Solo (tiple), con violines y trompas

1-Recitado Allegro: ‘Serpiente venenosa, falsa, astuta, falaz, vil, engañosa’

2-Aria Allegro- Andante: ‘Con pie gracioso, fuerte, Purissima Maria’

Juan Francés de Iribarren (1699-1767), Es el Poder del hombre (1739)

Cantada al Santísimo con Violines (tiple).

3-Recitado: ‘es el Poder del hombre limitado’

4-Area medio Ayre: ‘Con amante sacro hanelo sacro halago’

5-Recitado: ‘Mas ay que sin el viento favorable del Divino poder’

6-Area ayroso: ‘La gondola corre Borrasca total’

Juan Domingo Vidal (1735-1808), Kyrie (a. 1788)

De la Misa a 5 con violines.

7-Kyrie (Andante Largo-Canon-Presto)

Juan Domingo Vidal, Laudate pueri Dominum

Salmo a 3 con violines.

8-Laudate pueri Dominum

Juan Francés de Iribarren, Besubio Soberano (1748)

Cantada al Santísimo con Violines y Trompas. (tiple)

9-Recitado con violines: ‘Besubio Soberano etna abreviado en Copo Reducido’

10-Area Ayroso: ‘tanto puede amante fuego’

Juan Francés de Iribarren, Delizioso Clavel (1720)

Dúo (tiple y alto) con violín y flautas a la Purísima Concepción

11-Entrada algo Despacio: ‘Delizioso clavel / Primoroso jazmin’

12-Recitado: ‘flor del jardin ameno que es del sumo hazedor’

13-Area Medio Ayre: ‘La excelsa gallardia dispuso que en Maria’

14-Recitado: ‘Manifestó el Señor su poderío’

15-Final Allegro: ‘Celebren las flores Clavel y Jazmín’

Juan Francés de Iribarren, A la Messa del Cielo (1756

Cantada de Contralto al Santísimo con Violines, Oboe, flauta dulce y trompas.

16-Recitado a compás con instrumentos: ‘A la Messa del Cielo, venid’

17-Area Sosegado y Amoroso: ‘Benigno Dios Piadoso, Medico Generoso’

Luis de Mendoza y Lagos (1718-1798), Magnificat a 5 con Violines.


Francisco Delgado (1719-1792), Credidi (1771)

Salmo a 8 con violines y trompas.


Juan Francés de Iribarren, Ay sagrado Cupido (1734)

Villancico a 4 con violines al Santísimo Sacramento.

20-‘Ay sagrado Cupido quita la venda'

Juan Francés de Iribarren, Ezta noche lo neglillo (1753)

Villancico a 6 de negros, al nacimiento.

21-‘Ezta Noche lo neglillo vestirá de miginganga’







The works that make up the program recorded on this CD have been rescued from the depths of oblivion through recent research into our Spanish musical heritage.

It is remarkable that in Spain we are still discovering 'new' composers and placing them in our musical history, while several neighbouring countries are already considering the practice of reviving old national composers as outdated.

One of the primary reasons that our Spanish musical heritage has remained unknown to audiences is that instrumental and vocal ensembles have not had good editions of the music available to them. Yet, even though the works of masters such as Málaga and Cádiz have not been accessible until recently, they are of indisputable quality, and the positive reception that they are receiving as these musical treasures become more widely known prove that the task of revival is well deserved.

The silence reigning inside our cathedrals today does not at all resemble the intense activity that took place in the past: originally, the scene was an almost uninterrupted succession of rituals in which music was an essential part of the liturgy. The music can generally be classified in two categories: contrapuntal polyphony of the traditional style, and more innovative, brilliant compositions of the modern style known as ‘música a papeles’ (music from paper, from the score).

This CD presents a selection of works from the latter style. The modern style was one which originated in the Baroque era, and slowly progressed towards a transitional idiom (belcanto, gallant style), before arriving at a point which looks towards Classicism. When considering sacred music from the second half of the 18th century, it seems clear that Spanish composers were not at all ignorant of the musical innovations taking place in Europe at the time.

Certain melodies in the psalm Credidi by Francisco Delgado have elements of the gallant style, and yet the work still contains an evident Baroque pomposity. Delgado was born in Arcos de la Frontera (Cádiz) and he was chapel master of the collegiate churches of El Salvador (Sevilla) and Antequera. In 1759 he entered the service of the Cádiz Cathedral, where he stayed until his retirement in 1788. During his Cathedral years Delgado witnessed situations that were crucial to the stylistic development of music, for example the intensive exchange between the musicians of the Cathedral and those of the theatre, or the premiere in Cádiz of The Seven Words of Christ on the Cross by Haydn. Although there is documentary evidence of Delgado’s vast compositional activity, only fourteen of his works are known today. All of them have Latin texts and have been preserved in the archive of Cádiz Cathedral.

Juan Francés de Iribarren (1699-1767) is an important figure in the 18th century Spanish musical world (his work has already seen a revival in 1920 by R. Mitjana). After working as an organist for sixteen years in Salamanca, Iribarren became chapel master of Málaga Cathedral in 1733 and remained there until his retirement in 1766. The enormity of his oeuvre and the lack of editions of his work have handicapped the celebrity of this prestigious master. His legacy adds up to 904 compositions, most which are preserved in Málaga.

As L. Naranjo has pointed out, Iribarren is stylistically indebted to the baroque. In his works written in Latin, he was reluctant to abandon the rich contrapuntal tradition inherited from the past, while his compositions written in the vernacular contrast in their use of simpler textures and clearer melodies, anticipating the Classical style. His villancicos and cantadas, full of solos and duets (recitados and Italian arias), are especially interesting because of their ‘modernity’. The experienced listener will appreciate the increasing melodic structuring that takes place within his works. This is perceivable when comparing his early output from Salamanca (such as Delizioso Clavel, 1720) with that from his initial period in Málaga (for instance Es el Poder del Hombre, 1739, full of vocal virtuosity), or with his late compositions such as the soprano solo 'Besubio Soberano' (1748) or the alto solo 'A la Mesa del Cielo' (1756). Nevertheless, it must be acknowledged that his compositional technique remained basically baroque.

In his recitados, Iribarren offers an extremely rich variety of harmonic combinations upon a rigorously figured bass. His arias (areas) display a melodic refinement which is uncommon in the works of his contemporaries, as stated by M. Querol.