A Treasury of Music of the Renaissance
ฝัง
- เผยแพร่เมื่อ 8 มิ.ย. 2024
- 15th century France
00:00 Tuba gallicalis
01:18 Triste plaisir et douleureuse joie (rondeau by Alain Chartier, c.1385-c.1435;
music: Gilles Binchois, c.1400-1460)
05:02 Deul angoisseux, rage desmesurée (ballade by Christine de Pisan, 1364-c.1431; music: Binchois)
07:40 Les doleurs dont me sens (rondeau by Anthoine de Cuise, c.1425-c.1502;
music: Guillaume Dufay, c.1397-1474)
11:02 Donnes l'assault a la forteresse (music: Dufay)
12:09 Mort, j'appelle de ta rigueur (rondeau by François Villon, c.1431-c.1463;
music: Johannes Delahaye, fl. c.1465)
15:34 Pucelotte (music: Antoine Busnoys, c.1430-1492)
16:32 Ne doibt-on prendre (bergerette by Jean de Bourbon;
music: Loyset Compère, c.1445-1518)
20:18 Epitaphe de l'amant vert (quatrain by Jean Lemaire de Belges, c.1473-c.1525; music: anonymous)
22:21 Dit le bourguignon (anonymous)
15th century Italy
23:46 O rosa bella (words attributed to Leonardo Giustiniani, 1388-1446;
music: John Dunstable, c.1390-1453)
27:04 Perla mya (words by Giustiniani; music: anonymous)
29:52 Coda di volpe (music: anonymous)
31:37 Voi che passate (frottola; music: Francisco Varoter, c.1460-c.1502)
33:19 Non peccando altri che’l core (frottola;
music: Bartolomeo Tromboncino, c.1470-c.1535)
35:24 Ostinato vo seguire (frottola; music: Tromboncino)
37:50 La Alfonsina (music: Johannes Ghiselin, fl. 1491-1507)
39:41 Che fa la Ramacina? (music: Compère)
40:21 Occhi miei (music: Marchetto Cara, c.1465-c.1525)
42:54 Morte che fai? (poem by Serafino Aquilano, 1466-1500;
music: Heinrich Isaac, c.1450-1517)
47:21 La Morra (music: Isaac)
16th century France
50:01 Gentil mareschal (music: anonymous)
50:47 Mirelaridon (music: Guillaume Le Heurteur, fl. 1530-45)
51:51 Il me suffit de tous mes maulx (music: Claudin de Sermisy, c.1490-1562)
53:45 Bransle de Poitou (edited by Claude Gervaise, c.1525-1583)
54:35 Bransle de Champaigne (set to music by Gervaise)
55:28 Basse-Dance: Trop de regrets (music: anonymous)
56:32 Tourdion (anonymous)
57:22 Bransle gay: Quand je chatouille ta fossette (music: anonymous)
58:27 Allemande (edited by Gervaise)
59:21 Bransle de Bourgogne (edited by Gervaise)
1:00:25 Pavane et Gaillarde (Estienne du Tertre)
1:02:27 Mignonne (poem by Pierre de Ronsard, 1524-1585;
music from the collection of Jehan Chardavoine, 1538-c.1580)
1:03:46 Je ne désire que la mort (music: Charles Chastelain, c.1490-1578)
1:07:00 Seconde fantaisie (Claude Le Jeune, c.1528-1600)
16th century England
1:11:37 Galliard (Anthony Holborne, c.1545-1602)
1:12:55 The Night Watch (Holborne)
1:14:10 Courante: Heigh, ho, holiday (music: Holborne)
1:15:26 Allemande: Tregian (Peter Philips, 1561-1628)
1:17:16 Come again, sweet love (air; music: John Dowland, 1563-1626)
1:19:47 I saw my lady weep (air; music: Dowland)
1:21:39 Fine knacks for ladies (air; music: Dowland)
1:24:11 Though your strangeness frets my heart (words by Thomas Campion, 1567-1620;
music: Robert Jones, c.1577-1617)
1:26:49 The King of Denmark's Galliard (Dowland)
1:27:35 Sir Henry Umpton's Funeral (Dowland)
1:29:56 Sweet Kate (music: R. Jones)
1:31:28 Up merry mates (music: Dowland)
Singers and instrumentalists of La Societé de Musique d´Autrefois
Conductor of the instrumental ensemble: Pierre Chaillé
Leader of the vocal ensemble: Yvonne Gouverné
Soloists:
Soprano: Sylvaine Gilma, Jeanne Baucaumont
Tenor: Marcel Biol, Louis Collet, Gérard Friedmann
Baritone: Georges Abdoun, Morris Gesell
Bass: M. Mondé
Ensemble Vocal: Groupe Vocal de la S. M. A.
Soloists and Marie-Thérèse Holley, Berthe Kal, Violette Journeaux,
Marguerite Paquet, Arlette Roch, Francesca Solleville, Michel Richez
Ensemble de Violes:
1ers dessus: Mme. G. Dislay, Sacha Bonnet, M. Bachelet
2mes desus: Nora Bluhm, Mme. B. Hamet
Tenors: Mlle. S. Delattre, G. Lemonon, P. Sautreau
Basses: Mme. Texerat, M. F. Lemaire
Contrebasse de viole: M. G. Marie
Virginal: Marie-Thérèse Holley
Lutes: Mildred Clary, Mme. de Lamberterie
Harp: Marcelle de Lacour
Recorder solo: Alfred Trembelland
Recorder Quartet:
Dessus: Alfred Trembelland
Alto: Jürgen Eppelsheim
Tenor: Théa Beilt
Bass: Michel Delage, M. A. Brunet
Oboe Quartet: Gaston Maugras, Claude Maisonneuve, Fernand Eché, Michel Delage, Gérard Tantot
Chalemie: Fernand Eché
Trumpets: MM. Bastardy, Pirot
Trombones: MM. Suzan, Boutry, Callot
Art: detail of Portrait of a Musician (c.1483-1487), by Leonardo da Vinci (1452-1519)
The word Renaissance carries with it visions of scientific discovery, voyages of exploration, cultural splendour and artistic maturity. It really means "rebirth" in French, and specifically refers to the rediscovery of classical antiquity in all its manifestations. Although traceable as far back as the end of the 13th century in Italy, the Renaissance in most European countries coincides with the period 1400-1600.
Renaissance music was a big change from that of the Middle Ages. There was a rebirth in the sense that compositions became more and more individual, that is, human in a personal way rather than humanistic in the sense of "classically influenced". Medieval part-music till the 14th century had been mainly a product of the liturgy, and even 14th century secular music had an impersonal flavour. This began to change with English composers of the early 15th century like Dunstable, whose ¨O Rosa Bella¨ employs an Italian poetic form, the ballata, while the music has the subjective quality more readily accepted by the modern ear. The impact of Dunstable's music on composers such as Dufay and Binchois is hard to over-estimate, since, although many of their works carry on the tradition of the 14th century rondeau and ballade, the harmonies become more like our own, dissonances are eliminated, and the melodies are often of a charming simplicity.
Another important but gradual change was the transformation of the three or four voice solo song accompanied by instruments of contrasting timbre to a three to five voice part song with more unified instrumental doubling. For instance, the Rondeau ¨Triste Plaisir¨ by Binchois sung by a tenor accompanied on the recorder, lute and harp, might be compared with Isaac's ¨Morte, Che Fai?¨ some fifty years later, here performed by a vocal ensemble doubled by a consort of viols and reinforced by two lutes. Although both works are expressive settings of the melancholy texts, Isaac's belongs among the more modern frottole, works in chordal style which often dramatically anticipate the harmonic style of Giovanni Gabrieli and the 17th century by their use of our own primary chords.
A few of the many instruments popular during the Renaissance have already been mentioned, and it is almost impossible to think of a European instrument that was not in use then. In the Middle Ages, treble instruments had been predominant, but between the 14th and 15th centuries, the bass instruments began to appear one by one. By the l6th century, the recorder was available in a variety of sizes, of which the principal ones were the soprano, alto, tenor and bass. Similarly, the viols were named treble, tenor and bass, falling roughly into our violin, viola and cello categories, though there was also a descant viol a fourth above the treble, and a double bass an octave below the bass. One of the most favoured medieval instruments was the shawm, the ancestor of our oboe, and that too appeared in various sizes, of which the lowest was called a bombard. Keyboard instruments were mainly of the harpsichord type with plucked strings, like the box-shaped virginal and triangular spinet, and it is clear that by the 16th century they often anticipated the 17th century continuo technique in accompanying vocal works.
The 16th century French chanson, whose development ran parallel with that of the Italian madrigal, which itself developed from the frottola, found many composers and ranged from simple chordal settings, often with folk-like texts, to complex imitative works, though pieces like Ronsard's ¨Mignonne¨ were even found as popular songs of the time in the so-called vaux-de-ville collections. One of the best chanson composers, Claude Le Jeune, also wrote string fantasias, free imitative compositions which made a change from the dances - pavane, galliard, branle, tourdion - otherwise found in instrumental sources. Consort families of viols, recorders or other instruments became popular, though broken consorts made up of instruments from different families were used right through the 16th century. It is interesting to see brass instruments used for the performance of Holborne's Galliard and ¨Night Watch¨ at the end of the l6th century, just as they appeared two hundred years earlier in the ¨Tuba Gallicalis¨ for three trombones.
The English madrigal arrived sixty years later from Italy in 1588, but as a foreign importation soon gave way to airs for voice and lute by composers like Dowland, Jones, Campion and a plethora of others. Songs by Dowland appear for solo voice and lute, for four voices with lute, and as dances such as the pavane and galliard for virginal, lute or string consort. Such variety is typical of both performance and composition in the Renaissance, a period which has probably never been surpassed for public interest in music and actual output of new works.
GILBERT REANEY
Elektra (EKL-229) 1963
TUBA GALLICALIS (played on 3 sacqueboutes [early trombones])
TRISTE PLAISIR ET DOULEUREUSE JOIE
Gérard Friedmann (tenor), alto recorder, lute, harp
Triste plaisir et douleureuse joie
Aspre doulceur, reconfort ennuyeulx,
Ris en pleurant, souvenir oblieux
M’acompangnent, combien que seule soye.
Enbuchiés sont, affin que ne les voye,
Dedens mon cuer, en ombre de mes yeulx
Triste plaisir et douleureuse joie
Aspre doulceur, yeconfort ennuyeulx.
C'est mon trésor, c'est toute ma monjoye
Pour ce dangier est sur moy envieux:
Bien seroit il s’il me voit avoir mieux,
Quant il me het pour ce qu’amours m’envoye.
Sad pleasures, sorrowful joys, bitter sweetness, nagging comfort, weeping smiles and forgetful memories; these are my companions, however alone I may be. They are hidden away inside my heart, far from my eyes, so that I do not see them; sad pleasures, sorrowful joys, bitter sweetness, nagging comfort. This is my treasure, this is my wealth, and for this, Danger is envious of me; he would certainly be if he saw me doing better still, for he hates me because I obtain the rewards of love.
DEUL ANGOISSEUX, RAGE DESMESURÉE
Georges Abdoun (baritone), chalemie (early wind instrument), 2 sacqueboutes
Deul angoisseux, rage desmesurée
Grief desespoir plain de forsenement
Langour sans fin et vie maleürée
Plaine de plours, d’angoisse et de torment;
Coeur doloreux qui vit obscurément,
Ténébreux cors sur le point de partir,
Ay, sans cesser continuellement
Et sy ne puis ne garir ne morir.
Anguished grief, rage beyond measure, grievous despair full of torment, desire without end, unhappy life full of tears, anguish and torment, sorrowful heart which lives in obscurity, painful body unable to bear more; all of these are my unceasing lot, and I can neither die nor recover.
LES DOLEURS DONT ME SENS
Louis Collet (tenor), Morris Gesell (baritone), 2 tenor recorders, 2 bass viols
Les doleurs dont me sens tel somme
Font mon penser tout assommer
Et si ne me puis dessommer
Dont j’ay souvent mau jour et somme.
Et sans cesser je compte et somme
Pensant tousjours les assommer
Les doleurs dont me sens tel somme
Font mon penser tout assommer.
Mais moy mesmes du coup m’assomme
Et se mort me devoit sommer
Et de sa massue assommer
Si ne les puis-je mettre'en somme.
The pains I have in full measure fill my mind so that I cannot free myself of them and I grieve both night and day. Unceasingly I count them over, always thinking I can conquer them; these pains I have in full measure fill my mind. I am overwhelmed by them, and, if Death himself were to summon me and fell me with his club, I could not put them to sleep.
DONNES L´ASSAULT A LA FORTERESSE (3 sacqueboutes, chalemie)
MORT, J'APPELLE DE TA RIGUEUR
Marcel Biol (tenor), 2 tenor viols, 2 bass viols
Mort, j'appelle de ta rigueur,
Qui m'as ma maistresse ravie,
Et n’est pas encore assouvie
Se tu ne me tiens en langueur.
Oncques puis n’euz force, vigueur:
Mais que te nuisoit-elle en vie?
Mort, j'appelle de ta rigueur,
Qui m'as ma maistresse ravie.
Deux estions et n’avions ungcueur;
S'il est mort, il fault que desvie,
Voire, ou que je vive sans vie
Comme les images par cueur.
Death, I challenge you to do your worst, you who have ravished my mistress from me and are not yet satisfied unless you have me too in your clutches. Never since that day have I had strength or vigour, and what harm did she do you when she was alive? Death, I challenge you to do your worst, you who have ravished my beloved from me. We were two bodies with a single heart; if that is dead, then I must die too, or else live on without life, like the memories in my mind.
PUCELOTTE (2 sacqueboutes, chalemie, tambour)
NE DOIBT-ON PRENDRE
vocal ensemble
Ne doibt-on prendre, quant on donne
Et que son corps on habandonne,
A servir, tenir et amer
Et pour maistresse réclamer,
Espérant qu'on s’habandonne.
Je suis de telle opinion
Que deux cueurs de vray union
Doibvent l’ung de l’autre descendre
Et donner clère vision,
Sans faire nulle aversion,
Q’on veult amer jusques à cuer fendre.
La loy d’amours ainsi l’ordonne,
Qui ne le fait se désordonne
Et vauldroit mieux estre en la mer
Que trouver party plain d’amer
Puisqu’a servir tant on s’adonne.
Must you not take when you give, when you hand over your body completely to serve, hold and love, and call out for your mistress, hoping she will give herself up. I believe that two truly united hearts must belong to each other and see clearly that, without aversion, those who refuse to follow this law go astray. You might as well drown as choose a partner full of gall, for in love one must give so much.
EPITAPHE DE L’AMANT VERT
vocal ensemble
Souz ce tumbel, qui est un dur conclave,
Gist l’amant vert et le très noble esclave
Dont le franc cueur de vray amour pure yvre
Ne peult souffrir perdre sa dame et vivre.
Beneath this tomb, which is a hard conclave, lies the Green Lover and the very noble slave whose princely heart, drunk with pure love, cannot suffer the loss of his lady and live.
DIT LE BOURGUIGNON (4 oboes, tambour)
O ROSA BELLA
Morris Gesell (baritone), 2 oboes
O rosa bella, a dolce anima mia
Non me lassar morire, in cortesia!
Ay lasso me dolente, deyo finire
Per ben servire e lealment’amare.
O dio d’amor, que pena é quest’amare
Vede que yo moro per questa judea.
Secorime del myo langore,
Cor de cor myo, non me lassar morire.
O beauteous rose, o my sweet soul, do not leave me to die, I beg of you! Alas, wretch that I am, must I perish for serving well and loving faithfully? O god of love, what torture it is to love; see, I am dying for this Jewess. Help me in my despair, heart of my heart do not let me die.
PERLA MYA
for 3 voices: Berthe Kal, Violette Journeaux, Michel Richez
Perla mya cara, o dolce amore,
Tu sey pyu bella che dir non say,
Sola regina del myo core.
Tu sey, madona, la menta mya
Gia de gran tempo, dolce perla mya,
Per te languisco e languirò.
Io sono ung picciol tho servitore
Ma tu sey degna a myo parere
De altro gran re et gran seignore.
My precious pearl, my sweet love, thou art more beauteous than I can say, one and only queen of my heart. My beloved, thou art my soul and have been long, my sweet treasure; for thee I languish with undying love. I am no more than the humblest servant to you; while you are worthy in my eyes of the greatest kings and lords.
CODA DI VOLPE (played on 3 recorders)
VOI CHE PASSATE
Morris Gesell (baritone), Mildred Clary (lute)
Voi che passate qui, fermate il passo,
Guardate il corpo mio che in terra giace
E queste membra poste in duro sasso
Per seguitar desir sempre fallace,
Pero fuggite amor e sua mercede
Che porge altrui a un fin che non si crede.
You who pass by, arrest your steps and gaze at this my body, which lies beneath the ground, and these limbs clad in cold stone for having trusted in deceitful desire. So flee love and its rewards, which lead to a lamentable end.
NON PECCANDO ALTRI CHE'L CORE
Morris Gesell (baritone), Mildred Clary (lute)
Non peccando altri che’l core
Non fu in me peccato mai
Che obedirvi sol pensai
Moderando il troppo ardore.
S’io ho peccato in amarvoi
Son piu che altro peccatore
Perchè in questo peccò il core
Che altro error non fece mai.
Che obedirvi sol pensai
Moderando il troppo ardore
Non peccando altri che’l core
Non fu in me peccato mai.
Since only my heart sinned, there was never any sin in me at all. I only thought I was obeying you when I checked my overwhelming desire. If I have sinned in loving you, I am the greatest sinner of all, for it was my heart that sinned and my heart never before was guilty of anything. I only thought I was obeying you when I checked my overwhelming desire. Since only my heart sinned, there never was any sin in me at all.
OSTINATO VO SEGUIRE
Morris Gesell (baritone), Mildred Clary (lute)
Ostinato vo seguire
La magnanima mia impresa.
Fammi amor qual voi offesa
S’io dovessi e ben morire.
S’io la perdo alfin gran'core
Mostrarà l’alto desire
Ostinato vo seguire
La magnanima mia impresa.
I will pursue my aim with unshakable determination. Strike me, Cupid, with thy dart, even if I should die of it. If I lose her, at least my noble desire will show great courage. I will pursue my aim with unshakable determination.
LA ALFONSINA (trio of oboes)
CHE FA LA RAMACINA?
for 4 voices: Berthe Kal, Violette Journeaux, Louis Collet, Michel Richez
Che fa la Ramacina,
Do, che fa, che la non vien?
Che la Ramacina viva amor
Do, che fa, che la non vien?
What has happened to la Ramacina? What is she doing, why doesn’t she come? Long live love and la Ramacina; what is she doing, why doesn’t she come?
OCCHI MIEI
Morris Gesell (baritone), viol ensemble
Occhi miei lassi poiche perso haveti
Veder, quel sole che in terra ve mantiene,
A un angoscioso pianto e’l fonte apriti,
Che sempre a lacrimar sol ve conviene.
E voi, caldi sospiri hora ben seti
Degni compagni eterni a le mie pene.
O misera mia vita, afflitto core,
O dolce passion, dolce dolore.
O my weary eyes, since you have lost sight of that sun which kept you alive, open your founts to an anguished plaint, fit only for tears. And you, warm sighs, henceforth are worthy companions to my eternal sorrows. O wretched life, afflicted heart, O sweet passion, sweet pain!
MORTE CHE FAI?
vocal ensemble, viol ensemble, 2 lutes
Morte che fai? che non pigli questa spoglia?
Poi ch’è perduto ogni mio dolor bene.
De veni presto e fa cessar la doglia
Che l’alma afflicta nel mio cor sostene.
Se tu non cavi l’alma d’esto pecto
Per tormi de fortuna esser subjecto.
Death, why do you tarry in claiming your spoils? Since my sorrow is incurable, come quickly and end the pain which my afflicted soul endures in my heart. Tear my soul from my breast, and let me no longer be the plaything of fortune.
LA MORRA (viol ensemble, lute, chalemie, harp, virginal)
GENTIL MARESCHAL (2 oboes, 2 trombones)
MIRELARIDON
for 4 voices: Berthe Kal, Violette Journeaux, Louis Collet, Michel Richez
Mirelaridon, don, don, dondaine,
Mirelaridaine, mirelaridon,
Mirelaridon, don, don, dondaine,
Mirelaridon.
Le varlet et la chambrière au marché vont,
La fille porte ung panier tout plain d'oignons
Et le varlet ung pourceau maine,...
A! nom Dieu, dit la fillette, or voy-je bien,
Que le varlet qui m’y maine ne vault rien,
Qui ne me guette sur l’avoyne,...
A! nom Dieu, dit la fillette, or voy'je bien,
Au besoing luy fault l’aleyne,...
The varlet and the chambermaid are on the way to market; the maid has a basket full of onions and the varlet is leading a pig. “Oh, goodness me”, said the girl, “now I see the varlet leading me isn’t worth a sou; he never waits for me in the hay”. “Oh, my goodness”, said the girl, “now I see he may need to stop for breath”.
IL ME SUFFIT DE TOUS MES MAULX
Gérard Friedmann (tenor), Mildred Clary (lute)
Il me suffit de tous mes maulx
Puisqu'ilz m'ont livré à la mort,
J'ay enduré peine et travaulx
Tant de douleur et desconfort.
Que faut-il que je fasse
Pour estre en vostre grâce?
De douleur, mon coeur si est mort
Si ne voit vostre face.
Enough of these woes, since they have only brought me death. I have endured both pain and travail, and so much sorrow and discomfort. What must I do to gain your love? My heart will die of grief if I do not see your face.
BRANSLE DE POITOU (4 recorders, 4 viols, 2 lutes, harp, virginal)
BRANSLE DE CHAMPAIGNE (4 recorders)
BASSE DANCE: TROP DE REGRETS (4 viols)
TOURDION (soprano recorder, lutes, harp)
BRANSLE GAY: QUAND JE CHATOUILLE TA FOSSETTE (4 viols, 4 recorders)
ALLEMANDE (tenor recorder, lutes, harp)
BRANSLE DE BOURGOGNE (4 oboes)
PAVANE ET GAILLARDE (4 recorders, 4 viols, lutes, harp, virginal)
MIGNONNE
Louis Collet (tenor solo)
Mignonne, allons voir si la rose
Qui ce matin avoit desclose
Sa robe de pourpre au soleil
A poinct perdu ceste vesprée
Les plis de sa robe pourprée,
Et son teinct au vostre pareil.
Las! voyez comme en peu d’espace,
Mignonne, elle a dessus la place
Hélas! ses beautez laissé choir!
Ha! vrayment marastre est nature,
Puis qu’une telle fleur ne dure
Que du matin jusques au soir.
Donc, si vous me croyez, Mignonne,
Tandis que vostre âge fleuronne
En sa plus verde nouveauté,
Cueillez, cueillez vostre jeunesse:
Comme à ceste fleur, la vieillesse
Fera ternir vostre beauté.
Beloved, let us see if the rose, which this morning unveiled its purple mantle to the sun, has this evening lost the folds of its red robe and its complexion, so like yours. Alas, beloved, see how in so short a time its glories have fallen to the ground! Ah, Nature is indeed a harsh stepmother to let such a flower last only from morning to evening of one day. So, if you will believe me, beloved, gather the roses of life while you are in the bloom of verdant youth, for, like this flower, your beauty will wither with age.
JE NE DÉSIRE QUE LA MORT
Morris Gesell (baritone), Mildred Clary (lute)
Je ne désire que la mort,
Puisque je vis en desconfort
N’ayant que tristesse et doleur
Sans espoir d’avoir reconfort.
Meillieur me doncq seroit la mort
Que la vie en telle langueur.
I desire only death, since I live in sorrow with only sadness and pain and no hope of comfort. Better to die than to live in such woe.
SECONDE FANTAISIE (4 recorders, 4 viols, 4 oboes, 2 lutes, harp, virginal)
GALLIARD (2 trumpets, 3 trombones)
THE NIGHT WATCH (2 trumpets, 3 trombones)
COME AGAIN, SWEET LOVE (Morris Gesell (baritone), Mildred Clary (lute))
I SAW MY LADY WEEP (Morris Gesell (baritone), Mildred Clary (lute))
FINE KNACKS FOR LADIES (Morris Gesell (baritone), Mildred Clary (lute))
THOUGH YOUR STRANGENESS FRETS MY HEART (Sylvaine Gilma, Jeanne Baucaumont (sopranos), Mildred Clary (lute), F. Lemaire (bass viol))
THE KING OF DENMARK´S GALLIARD (viol ensemble)
SIR HENRY UMPTON´S FUNERAL (viol ensemble, 2 lutes)
SWEET KATE (Sylvaine Gilma, Jeanne Baucaumont (sopranos), Mildred Clary (lute), F. Lemaire (bass viol))
UP MERRY MATES (Morris Gesell (tenor), M. Mondé (bass), vocal ensemble, 4 viols, 4 recorders, 2 lutes, harp, virginal)
En algún momento de la historia de la humanidad surgió este tipo de música en medio del arte, y fué bastante prolifica felizmente, es un valioso tesoro heredado de nuestros ancestros en medio de otras costumbres que no debieran opacar esta belleza. Gracias por compartir esta hermosa música.
5:02 "Alone anxious, excessive rage"
Thank you for uploading this! I had the LP in my youth, loved it!
💘🎼💘