Folias – Spanish music for harpsichord from the 17th centuryFrancisco Correa de Arauxo (1584-1654)
Pablo Bruna (1611-1679)
José Ximénez (?-1678)
Joan Bautista Cabanilles (1644-1712).
Release: June 2013, passacaille (992)
5 de diapason (March / März 2014)
1. J. Ximénez: Obra de lleno 1.tono sin paso
2. F. Correa de Arauxo: Tiento de 1. tono (LXII)
3. F. Correa de Arauxo: Tiento de 5. tono (XX)
4. J.B.J. Cabanilles: Diferencias de Folias
5. J.B.J. Cabanilles: Tiento lleno de 4. tono
6. F. Correa de Arauxo: Dies y seis Glosas sobre el Canto Llano „Guárdame las Vacas“
7. F. Correa de Arauxo: Tiento de 1. tono, de a cinco (LII)
8. J. Ximénez: Folias con 20 diferencias
9. P. Bruna: Tiento lleno de 6. tono sobre Ut Re Mi Fa Sol La
10. J.B.J. Cabanilles: Gallardas de 3. tono
11. F. Correa de Arauxo: Tiento pequeno y facil
12. J.B.J. Cabanilles: Tiento lleno de 5. tono (XVIII)
Total time: 76’58
Philippe Ramin (in „Diapason“, March / März 2014; complete review in French & German confer / komplette Rezension in Französisch & Deutsch, siehe: Reviews):
„…La technique regorge de moyens expressifs et mène le clavecin vers une profondeur de sentiment passionnante…“
American Record Guide (July/August 2014):
„…Her technique is very fine, her sense of articulation and timing ideal, and her handling of ornamentation superb.“
Eduardo Torrico („El Arte de la Fuga“, Sept. 2013):
„El disco… ayuda a llenar el vacio existente…, la interpretación de Blank está llena de luces y merece realmente la pena.“
Johann van Veen (www.musica-dei-donum.org, Mai 2014):
„…The fine quality of the music and the outstanding interpretations by Lydia Maria Blank have resulted in a very compelling disc which should not be missed by any lover of 17th century keyboard music. The harpsichord is a beautiful instrument well suited for this repertoire…. The recording engineer deserves accolades for a very natural recording in which the miking is exactly right.“
Barry Brenesal (Fanfare, 2014):
„… Given her technique, her knowledge of period ornamentation in general and that of the Iberian peninsula in particular, Lydia Maria Blank is as fine a performer in this music as could be hoped for. I admired her previous release of music by Giovanni Maria Trabaci … for its flexible singing line, and the way she harnessed its harmonic dissonance to expressive ends. That is certainly apparent on this release as well, though the dissonance is less, and the extravagance of gesture, greater… She also possesses an ear for selecting a memorable piece or one with a striking effect …“