We included in this CD - in addition to traditional themes of the British Islands, Galicia and Britain - some Medieval themes, and others of later composers in whose works we can perceive a strong mark of the richness of the Celtic world.
 
En el Bosque sin Retorno (Tocaire 2402, with Tocando el Aire)
 
   
This was my first LP, which motivated the commentary spilled in the presentation of this web site. It was recorded on the return of our first and successful tour by Europe. We participated in the cycle that "Los Interpretes" in the Auditorium of Belgrano in April; it was a multitudinous concert that motivated the organizers to produce this record together with Iván Cosentino.
 
Música Ficta - Renaissance - Middle Ages (IRCO 47, with Música Ficta)
 
As well as the previous recording was a "salad" of Medieval and Renaissance music with the best of our repertoire until then, we decided to be more specific for this opportunity. And we took a fascinating period from medieval history: the one of the co-existence of Christians, Jews and Moors in music and Renaissance Spain, interpreting songs belonging to both first groups.
 
Cantigas de Santa María and Sephardic Traditional Songs
(IRCO 66, with Música Ficta)

 

We were often asked in Europe why we did not perform Latin American Early music. We explained to them that the so call Medieval and Renaissance were specifically European, and that we had very few data of pre-Columbian music. Chatting one a day with Cosentino he gave us the masterful key: a transcription of a Peruvian codex of the XVIII century, the Martinez Compañón Collection. That was the hint to begin to work and to investigate colonial music, with ramifications that still cause this to be one of my daily subjects of study.

 

Music in the Squares of the Virreinato
(IRCO 98, with Música Ficta)
     
 

It is a compilation in CD format of the three above-mentioned recordings. It came into my head to give a certain thematic coherence drawing up a "musical way” that has its origin in the troubadour songs of medieval France, passes to the Iberian Peninsula with the Cantigas of Alfonso the Wise and the Sefaradíes Songs, a brief stay in Renaissance Spain, and the crossing in caravel to America!

 
Road to America
(IRCO 200, with Música Ficta)
 
 
 

In many record editions it is common to make a horizontal cut on time and space to select the repertoire. However, we decided to make a vertical section, diving after two subjects so old like the world: love and wine. Neither in the entire planet nor at all the times: in Europe, between the 1100 and the 1600. Why Love and Wine? For its use until today, always related to pleasure and pain, sadness and joy.

 
Songs of Love and Wine
(IRCO 224, with Música Ficta)
 
 
 

We have taken the title from the old recording, but we added new themes; and we have recorded again the already boarded, updating and thus revitalizing this prettiest sonorous material.

 

 
In the Squares of the Virreinato (IRCO 294, with Música Ficta)
 
 
 
 
 
 


(Independent Production, with the group Ilúvatar of Recorders)

The way together has been grateful, with an enormous growth for them and for me. We were happy to performed all types of flutes, and as the repertoire was “small for us” (the popular one mostly), we made our own fixes. When the group celebrated his ten years, we made a concert where we performed this recording.


(Independent Production, with the group of Emlim Recorders)

Another group of students with whom we have been working for years. In fact, they are the "deans" of my students (DianaDabbah, Irene Dabbah and Laura Schachter). It includes from a tango ("La calle de las glicinas", Lanutti) to three numbers of "Music for the Royal Fireworks" (Haendel).

 


(Independent Production, with the Group Lunéticos)

I like the versions of "Lamento de Tristan" (Italian anonymous author from the XIV century) and “Three Hungarian Children's Songs" by Béla Bártok.

 


(Independent Production, with the Group Clartatz)

The "live" part was recorded in the first important concert of the group, May 15 of 1999 in the First Methodist Church, within the framework of the cycle of concerts that has been taking place on Saturdays in that place for more than twenty-five years. And the part "on studio" was recorded in my studio, taken as if it was live, without special re-recording or effects (except for a little reverb).

 
 
 

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