Musique Arabo-Andalouse. Gregorio Paniagua, Atrium
Musicae Madrid. Harmonia Mundi HMM 93389.
By John J. Puccio
First, a bit of history: Al-Andalus is the name of the
area of the former Islamic states in Iberia, a domain that at one time occupied
most of the Spanish and Portuguese peninsula and a part of southern France and
beyond. Arab or Berber rulers controlled these areas at various times between
711 and 1492, although national boundaries changed constantly as conflicts with
neighboring Christian countries continued.
During the Middle Ages, Al-Andalus became, as the CD
booklet notes explain, “a centre of culture and of influence on the rest of
mediaeval Europe. At that period Europe had not yet attained a level of
civilization comparable with the splendour and extreme sophistication enjoyed
by the inhabitants of Southern Spain. Music flourished with particular vigour
in Al Andalus, protected by the patronage of the emirs, princes and caliphs,
studied by the most illustrious theoreticians and played by the most remarkable
performers. Arabic-Andalusian or Hispanic-Moslem music as been transmitted
solely by oral tradition.” It is those oral traditions that the
period-instrument group Atrium Musicae de Madrid and their leader Gregorio
Paniagua follow in presenting the music of the album.
Members of Atrium Musicae de Madrid include Gregorio
Paniagua, Eduardo Paniagua, Cristina Ubeda, Pablo Cano, Beatriz Amo (who also
wrote the booklet notes), Luis Paniagua, and Carlos Paniagua. Yes, it was
mostly a family affair, at least at the time of this recording in the mid
1970’s. They play on instruments hard to pronounce and even harder to spell.
Suffice it to say that they all get into the spirit of the thing and produce
some interesting and, for most of us today, unique sounds.
Gregorio Paniagua founded Atrium Musicae de Madrid in
1964, and they performed together for almost twenty years, finally disbanding
in the early 1980’s. Several of their albums became quite well known, including
two that I’ve had in my collection for over forty years: Musique de la Grece
Antigue (Harmonia Mundi HM 90.1015) and La Spagna (BIS CD-163).
Together with Al Andalus, the albums provide a valuable insight into the
music of a long-ago time.
If there is any drawback to the Al Andalus album,
it is its length. It’s only forty-two minutes long, which is pretty short
measure by current standards; especially by CD standards, with discs capable of
playing nearly twice that content. But we have on the CD what the old vinyl LP
gave us, and we shouldn’t complain. It’s the substance that counts.
The music is about what one would expect of tunes from
medieval Arabic days. It influenced composers like Balakirev and
Rimsky-Korsakov, who tried to emulate at least the feeling of such music in
more modern times. The booklet notes tell us that the musical form most
commonly followed by Arabic-Andalusian composers was the Nouba, a series or
suite of songs grouped together in different movements. There are some variables,
but things are pretty well established, and the Atrium Musicae folks say the
pieces constituting the album are “like a mosaic of the most beautiful
fragments of some of the Noubas which have survived.” Whatever, it’s all quite
lovely and pleasantly listenable.
As for the playing, because I am unfamiliar with the
music, with the instruments involved, and with the performers (except on the
aforementioned two other albums), I cannot say definitively that they are the
best at what they do. But what I can say is that they appear to know what
they’re doing, and they make beautiful music together, mostly tranquil,
meditative, and contemplative. One can hardly ask for more.
Engineer and sound editor Alberto Paulin recorded the
music at Mediapole Saint-Cesaire, Impasse de Mourgues, Arles, France in October
1976. The recording has been in the catalogue continuously since then, the
current issue released in 2021.
Allow to voice an opinion: The commercial home-stereo age
began in about 1954 and matured over the next fifteen or twenty years, reaching
a peak of sophistication in the 1970’s. Then came the digital age in the 80’s,
and recording engineers had to recalibrate and develop new techniques to best
exploit the emerging medium. For me, that meant that the 1970’s were a kind of
golden age of analogue stereo recording, and this recording comes right in the
middle of that era.
There’s a genuine sense of air and transparency around
each of the instruments and an actual sense of depth to the sonic image. A
moderate hall reverberation lends a note of realism to the affair, along with a
deep bass response; clean, extended highs; and general feeling of naturalness.
To top it off, there’s a wide dynamic range and fairly strong impact. The whole
recording is quite lifelike and likable.
JJP
To listen to a brief excerpt from this album, click below:
Musicae Madrid. Harmonia Mundi HMM 93389.
By John J. Puccio
area of the former Islamic states in Iberia, a domain that at one time occupied
most of the Spanish and Portuguese peninsula and a part of southern France and
beyond. Arab or Berber rulers controlled these areas at various times between
711 and 1492, although national boundaries changed constantly as conflicts with
neighboring Christian countries continued.
During the Middle Ages, Al-Andalus became, as the CD
booklet notes explain, “a centre of culture and of influence on the rest of
mediaeval Europe. At that period Europe had not yet attained a level of
civilization comparable with the splendour and extreme sophistication enjoyed
by the inhabitants of Southern Spain. Music flourished with particular vigour
in Al Andalus, protected by the patronage of the emirs, princes and caliphs,
studied by the most illustrious theoreticians and played by the most remarkable
performers. Arabic-Andalusian or Hispanic-Moslem music as been transmitted
solely by oral tradition.” It is those oral traditions that the
period-instrument group Atrium Musicae de Madrid and their leader Gregorio
Paniagua follow in presenting the music of the album.
Members of Atrium Musicae de Madrid include Gregorio
Paniagua, Eduardo Paniagua, Cristina Ubeda, Pablo Cano, Beatriz Amo (who also
wrote the booklet notes), Luis Paniagua, and Carlos Paniagua. Yes, it was
mostly a family affair, at least at the time of this recording in the mid
1970’s. They play on instruments hard to pronounce and even harder to spell.
Suffice it to say that they all get into the spirit of the thing and produce
some interesting and, for most of us today, unique sounds.
Gregorio Paniagua founded Atrium Musicae de Madrid in
1964, and they performed together for almost twenty years, finally disbanding
in the early 1980’s. Several of their albums became quite well known, including
two that I’ve had in my collection for over forty years: Musique de la Grece
Antigue (Harmonia Mundi HM 90.1015) and La Spagna (BIS CD-163).
Together with Al Andalus, the albums provide a valuable insight into the
music of a long-ago time.
it is its length. It’s only forty-two minutes long, which is pretty short
measure by current standards; especially by CD standards, with discs capable of
playing nearly twice that content. But we have on the CD what the old vinyl LP
gave us, and we shouldn’t complain. It’s the substance that counts.
The music is about what one would expect of tunes from
medieval Arabic days. It influenced composers like Balakirev and
Rimsky-Korsakov, who tried to emulate at least the feeling of such music in
more modern times. The booklet notes tell us that the musical form most
commonly followed by Arabic-Andalusian composers was the Nouba, a series or
suite of songs grouped together in different movements. There are some variables,
but things are pretty well established, and the Atrium Musicae folks say the
pieces constituting the album are “like a mosaic of the most beautiful
fragments of some of the Noubas which have survived.” Whatever, it’s all quite
lovely and pleasantly listenable.
As for the playing, because I am unfamiliar with the
music, with the instruments involved, and with the performers (except on the
aforementioned two other albums), I cannot say definitively that they are the
best at what they do. But what I can say is that they appear to know what
they’re doing, and they make beautiful music together, mostly tranquil,
meditative, and contemplative. One can hardly ask for more.
Engineer and sound editor Alberto Paulin recorded the
music at Mediapole Saint-Cesaire, Impasse de Mourgues, Arles, France in October
1976. The recording has been in the catalogue continuously since then, the
current issue released in 2021.
Allow to voice an opinion: The commercial home-stereo age
began in about 1954 and matured over the next fifteen or twenty years, reaching
a peak of sophistication in the 1970’s. Then came the digital age in the 80’s,
and recording engineers had to recalibrate and develop new techniques to best
exploit the emerging medium. For me, that meant that the 1970’s were a kind of
golden age of analogue stereo recording, and this recording comes right in the
middle of that era.
There’s a genuine sense of air and transparency around
each of the instruments and an actual sense of depth to the sonic image. A
moderate hall reverberation lends a note of realism to the affair, along with a
deep bass response; clean, extended highs; and general feeling of naturalness.
To top it off, there’s a wide dynamic range and fairly strong impact. The whole
recording is quite lifelike and likable.
JJP
To listen to a brief excerpt from this album, click below:
