11:00 Promenade Concert – Valloire Church
Baroque guitar, fascination and seduction (1500 – 1600)
Anonymous (16th century)
Al alva venid
Claudin de Sermisy – Manuel de Fuenllana (16th century)
Glosa sobre Tan que vivray
Diego Pisador (16th century)
Dezilde al cavallero
Luis de Milán (ca. 1500 – ca. 1561)
Quie amores ten
Falai Miña Amor
Luys de Narváez (16th century)
La canción del Emperador
Cuatro diferencias sobre guárdame las vacas
Diego Ortiz (ca. 1510 – ca. 1570)
Alonso Mudarra (1510 – 1580)
Pavana de Alexandre
Fantasía de pasos de contado
Fantasia que contrahaze la harpa a la manera de Ludovico
12:00 Promenade to the hamlet of Poingt-Rogereil
13:00 Picnic on the alp with the musicians
14:30 Libre-cours lecture by Gaël de Kerret : Fine singing, from craft to art
16:00 Promenade back to the Valloire Church
17:00 Promenade Concert – Valloire Church
Baroque guitar, fascination and seduction (1600 – 1700)
Francisco Guerau (ca. 1649 – ca. 1717)
Antonio Martín y Coll (17th and 18th century)
Gaspar Sanz (1640 – ca. 1710)
Pavana al ayre español
Rujero y Paradetas
La esfachata de Nápoles
La miñona de Cataluña
José-Miguel Moreno vihuela and baroque guitar
Spanish guitar, fascination and seduction (1500 – 1700)
Tuesday August 5th– Musical promenade
These two recitals are dedicated to the evolution of the Spanish guitar over two centuries, from the publication of the first book of vihuela, El Maestro, by Luys Milán (1536), to the publication of Instruccion de Música sobre Guitarra Española, by Gaspar Sanz (1697).
“Interpreting”, so to speak, such two different instruments in two nearly successive concerts is a challenge : the vihuela is sober and intimate, the baroque guitar luminous and coruscating. In brief, they mirror two separate worlds with two very distinct aesthetics.
During these recitals, I resort to the specific techniques of each instrument, to achieve the most consistent and beautiful interpretation. Unlike, say, the violin, the instruments of the guitar family often do not age very well, so I play on modern copies built after the original designs of each period.
José Miguel Moreno
José Miguel Moreno was born in Madrid. During his period of formation, he won, among others, the first prize of the Incontri Chitarristici di Gargnano (Italie, 1977). He specializes in historical interpretation, with an extremely rich repertoire ranging from the 16th century to the early 20th century, performing both on original instruments and faithful replicas: vihuela, Renaissance and baroque guitar, Renaissance and baroque lute, theorbo and classical-romantic guitar. In this field, José Miguel Moreno is unanimously recognized as one of the foremost specialists.
He has performed in the most prestigious festivals and music halls in Europe, Australia, Asia and America: Wiener Musikverein, Granada International Music Festival, Flanders Festival, Théâtre des Champs Elysées in Paris, Teatro Real and Auditorio in Madrid, Brisbane Biennal, Wigmore Hall in London, Pushkin Hall in Moscou, Metropolitan Museum of New York, the Festivals of Ancient Music of Bruges, Barcelone, Utrecht, Stuttgart, Innsbruck, El Escorial, Paris, Hokutopia in Tokyo, etc. In nearly all the countries he has visited, he has made live recordings for the radio and television.
For several years, he worked with Teresa Berganza, also toured and recorded with Hespérion XX and Jordi Savall.
In 1990, he founded the ensemble La Romanesca, then in 1999 the ensemble Orphénica Lyra, both dedicated to the interpretation of Renaissance music and Spanish and European baroque music. Holder of the chair of ancient guitar at the Madrid Royal Conservatory since January 2002, he also researches the historical construction of instruments of the lute and guiitar family, together with his wife Lourdes Uncilla.
Almost all of his recordings have been praised and rewarded by various distinctions from the specialized press: Choc du Monde de la Musique, Diapason d’Or, a 10 by Répertoire, Gramophone Magazine Editor’s Choice, Fanfare Want List, Ritmo prize, Goldberg 5 stars, CD of the month by Alte Musik Aktuell, etc.