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    "slug": "antonio-literes-sacred-cantatas-for-alto",
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    "title": {
        "rendered": "ANTONIO LITERES: Sacred Cantatas for Alto"
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        "rendered": "<p><strong class=\"gtfy-1 gtfy-2\">ARTISTS: <\/strong>Carlos Mena, countertenor | Concerto 1700 | Daniel Pinte\u00f1o, violin &amp; director<\/p>\n<p><strong>REVIEWS:<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-304 size-full\" src=\"http:\/\/1700classics.es\/wp-content\/uploads\/2024\/05\/Excepcional-e1716154165113.png\" alt=\"\" width=\"100\" height=\"100\" \/><\/p>\n<p><em>&#8220;These four cantadas receive an absolutely exceptional performance in this recording. Daniel Pinte\u00f1o as conductor and first violin, Carlos Mena as solo voice and the other members of Concerto 1700, give the best of themselves and give us an unforgettable CD&#8221;<\/em> <strong>&#8211; Scherzo Magazine.<\/strong><\/p>\n<p><em>&#8220;The performance is really energetic and precise: impeccable countertenor Carlos Mena, as well as all the members of Concerto 1700, conducted by Daniel Pinte\u00f1o&#8221;<\/em> <strong>&#8211; Rivista Musica.<\/strong><\/p>\n<p><em>&#8220;Concerto 1700 knows how to find the points of enormous expressive depth, as well as those of greater energy and vitality, in a balance of well-achieved tempi and an abundant palette of dynamic resources.&#8221;<\/em> <strong>&#8211; Mel\u00f3mano Magazine.<\/strong><\/p>\n<p><em>&#8220;Carlos Mena [&#8230;] showing technical mastery and expressiveness, with an always agile and effective coloratura, exquisite diction and a great command of the word.&#8221;<\/em> <strong>&#8211; \u00d3pera Actual Magazine.<\/strong><\/p>\n<p><strong><em><span style=\"font-weight: 400;\">&#8220;Countertenor Carlos Mena sings with his usual fluency, without fault or reproach. However, the real sensation of this recording is the excellent orchestra, Concerto 1700, which executes its exceptionally demanding part with a precision and naturalness that impresses.&#8221; <\/span><\/em>&#8211; Bayerische Runkdfunk.<\/strong><\/p>\n<p><strong>ALBUM INFORMATION:<\/strong><\/p>\n<p style=\"text-align: right;\"><span style=\"font-weight: 400;\"><em>\u00abDon Antonio Literes, a most exquisite composer, and perhaps the only one who has managed to combine all the majesty and sweetness of old music with the bustle of the modern.\u00bb<\/em> <\/span><\/p>\n<p style=\"text-align: right;\"><span style=\"font-weight: 400;\">Benito Jer\u00f3nimo Feijoo, Teatro cr\u00edtico universal (1726)<\/span><\/p>\n<p><span style=\"font-weight: 400;\">These were the words used by Friar Feijoo to refer to one of the most important Spanish composers of the 18th-century: Antonio Literes y Carri\u00f3n. Born in 1673 in Art\u00e1 (Majorca, Spain), Literes moved to Madrid in 1686 and entered the Real Colegio de Ni\u00f1os Cantores, where he was an interim music teacher from 1692 to 1694. In 1693, he became \u00abm\u00fasico de viol\u00f3n\u00bb (cellist) of the Real Capilla (the Royal Chapel), a position he held until his death in 1747. From 1709 on, Antonio Literes and Jos\u00e9 de Torres were entrusted with the composition of music for the Real Capilla, a task that Literes kept carrying out after Torres\u2019s promotion to professor of that institution in 1720.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The sacred works of Antonio Literes, less known but of a quality comparable to that of his theater music, can be mainly found in Madrid, San Lorenzo de El Escorial, Toledo, and Guatemala. The four cantatas for alto to the Blessed Sacrament recorded in the present album belong to the Historical Archive of the Archdiocese of Guatemala, which holds the cathedral\u2019s music collections. Likely, these works were originally meant to be performed at the \u201cforty hours\u201d devotion that was held in the Real Capilla.<\/span><\/p>\n<p><strong>TRACKS:<\/strong><\/p>\n<p>Ya por el horizonte. Cantada al Sant\u00edsimo con violines, oboe y clar\u00edn (1728)<br \/>\n1. Recitado: Ya por el horizonte [00:50]<br \/>\n2. Aria (Vivo): Suene el alboreada [07:04]<br \/>\n3. Grave: Ay, que si yo pudiera [01:00]<br \/>\n4. Coplas (Airoso): Si a gozar solo aspiro [00:45]<br \/>\n5. Recitado: Repite, ave canora [01:08]<br \/>\n6. Aria (Vivo): De su aplauso en el empleo [07:16]<\/p>\n<p>Si el viento. Cantada al Sant\u00edsimo con violines y oboe (ca. 1725)<br \/>\n7. Recitado: Si el viento busca el ave placentera [00:51]<br \/>\n8. Aria (A medio aire): Es el divino centro del hombre [05:44]<br \/>\n9. Recitado: Por eso ha descendido [00:50]<br \/>\n10. Aria (Vivo): Como alegres placenteros [05:09]<\/p>\n<p>Cuando a pique, Se\u00f1or. Cantada al Sant\u00edsimo con violines (1733)<br \/>\n11. Recitado: Cuando a pique, Se\u00f1or [00:53]<br \/>\n12. Aria (Alegre): Va zozobrando la navecilla [04:44]<br \/>\n13. Recitado: \u00bfQu\u00e9 tiene que temer? [00:50]<br \/>\n14. Aria (Alegre): Llegue ansioso tu cuidado [05:53]<\/p>\n<p>De aquel fatal bocado. Cantada al Sant\u00edsimo con violines y oboe (1730)<br \/>\n15. Recitado: De aquel fatal bocado [00:45]<br \/>\n16. Aria (Amorosa): Pan de llanto y de dolor [05:17]<br \/>\n17. Recitado: Tanto transforma al hombre [00:30]<br \/>\n18. Aria (Vivo): El\u00e9vate a ese velo [05:43]<\/p>\n<p>&nbsp;<\/p>",
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        "rendered": "<p>ARTISTS: Carlos Mena, countertenor | Concerto 1700 | Daniel Pinte\u00f1o, violin &amp; director REVIEWS: &#8220;These four cantadas receive an absolutely exceptional performance in this recording. Daniel Pinte\u00f1o as conductor and first violin, Carlos Mena as solo voice and the other members of Concerto 1700, give the best of themselves and give us an unforgettable CD&#8221; [&hellip;]<\/p>",
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