----- Original Message -----
From: "Eloy Cruz" <eloyc...@gmail.com>
To: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Sent: Thursday, December 15, 2011 7:35 PM
Subject: [VIHUELA] Re: Strumming as basso continuo {was: Return to earlier
question: {was: Agazzari guitar [was Re: Capona?]}
Probably not as much as players today like to think - but Eloy perhaps
could
tell us more about that if he is not too busy.
Well, I know no "excessive strumming in some modern fashionable
performances
of South American sacred settings". The only example that comes to my
mind
is the "Missa Mexicana" CD by the Harp Consort: it's a setting of Missa
Ego
flos campi by JG de Padilla. The list of performers includes 6 guitar
players and 3 percussion players, one of whom also plays conch shell. I
think this CD could really be called fashionable: in between the Missa
movements, it mixes some dance-songs, villancicos and even a vocal version
of Murcia's Cumbees "alla Swingle Singers".
Oh yes - I have this CD. It is actually quite nice. I don't think the
guitars are used to accompany the movements from the Mass although the harp,
bajon, organ and possibly stringed bass instruments are. The guitars are
used in the pieces with Spanish words. Is there any historical evidence
for example of such groups of instruments being used at Puebla Cathedral
where Padilla was based?
The liner notes only explain that the guitar was the most significant
instrument of Spanish baroque music, and mention that a "set of 6 matched
Veracruz baroque guitars" was specially made for this project. Anyway, I
can't hear any excessive strumming in any of the tracks.
What is the difference between Mexican baroque guitars or Vera Cruz baroque
guitars and ordinary baroque guitars. They certainly look different in the
photos. Are they historical or are they something the players have
imagined?
Cheers
Monica
We also agree on the excessive strumming ('thrashing about') often
found in some modern performances of solo songs.
Yes indeed!
Monica
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