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L’Orgue Baroque en Aragon

May 8, 2024

Jusepe Ximénez: Obra de Ileno de Premier Tono; Sacris Solemnis/Garcia Baylo (?), Pedro Pifant? (1473): Vexilla Regis/Andrés de sola: Registro alto de Primer Tono/Melchar Robledo: Domine Iesu Christe/Sebastián Aguillera de Heredia: Tiento grande de Cuarto Tono; La Reyna de los Pange lingua; Tiento de bajo de Primer Tono; Tiento de falsas de Cuarto Tono; Salve de Prim Tono/Andrés de Sola: Tiento de Cuarto Tono sobre un tiento de falsas de Aguilera de Heredia/Pablo Bruna: Tiento de falsas de Primer Tono; Dos versos sobre el Ave Maris Stella; Tiento Ileno de Sexto Tono sobre ut re mi fa sol la/Pablo Nassarre: Tocata de Primer Tono/Cristóbal de Morales-Melchor Robledo: Regem cu omnia vivunt
Carlos González Martinez (organ of San Pablo de Saragosse)
*****Hortus 238 [67’48”]

This exceptionally interesting and very well recorded valuable CD is, as the informative booklet note explains, ‘devoted to the historic musical heritage of the city of Zaragoza, and that of Aragón, featuring music by the members of the Escuela de Órgano de La Seo de Zaragosa as it is known, founded by Sebastian de Heredia (1561-1627).’

As such, of course, it provides an informative and uplifting conspectus of music from the late 15th to the mid 17th-centuries associated with the city of Zaragosa in the Aragon region. The music chosen progresses through the Catholic calendar, and in so doing offers tientos de Ileno, partidos, de falsas, toccatas, versets and glosas by the most representative organist-composers of the Aragonese, mainly from the 17th-century and played on the organ, Gothic in origin, of the parish of San Pablo.

The result is a highly significant addition to the recorded organ repertoire, both for the music contained herein and the instrument upon which it is played; the truly fascinating aspect of this collection is that the music – qua music – is of the greatest interest, and the significance of this issue is not to be under-rated.

Carlos González Martinez is clearly a committed and greatly gifted musician, and his tempos and registration are of the highest order – one could well imagine that one is being transported here back half a millennium to the music of composers of no little significance.

This landmark release in early organ music recordings is very highly recommended.

Stuart Billinghurst


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