The baroque violinist Daniel Pinteño, together with the baroque musical training Concerto 1700, of which he is director, and the acclaimed countertenor Carlos Mena they just released the album Antonio Literes (1673-1747) Sacred Cantatas for Alto, where they collect some of the sacred works of the Mallorcan Baroque composer, that had been forgotten for more than two centuries.
As the musical researcher Antoni Pons Seguí explains in the album's libretto, the four recorded songs to the Blessed Sacrament for Alto de Literes belong to the set of works preserved in the Archdiocesan Historical Archive of Guatemala, that guards the musical funds of the cathedral of said Central American city. Although the works found in the cathedral had been cataloged in 2003, they had never been recorded on disk before. Daniel Pinteño's work, carried out within the framework of a Leonardo grant to Researchers and Cultural Creators from the BBVA Foundation, supposes its recovery and premiere in modern times.
In the process of recovering the Cantadas de Literes with a view to recording, Daniel Pinteño did not hesitate to contact the countertenor Carlos Mena, with whom he has worked several times before so he knows his fantastic vocal qualities. This, together with the extensive knowledge of Spanish vocal music of the 18th century that Carlos Mena possesses, makes the Vitorian countertenor the perfect soloist to interpret these sungs that present extraordinary vocal difficulty. Composed for a tall gelding, undoubtedly they pose coloratura passages that remind us of Neapolitan or Venetian composers of the time.
The music of Literes from this period is a climax in the assimilation of the Italianizing elements in Spanish singing.. Throughout the album we can find not only an amazing vocal virtuosity, but also an instrumental treatment, harmonic and melodic of a complexity without equal if we compare it with the contemporary composers who worked in the Royal Chapel of Madrid during that decade.
Definitely, what Antonio Literes proposes in this repertoire is the complete Italianization of a genre as Hispanic as the one sung to the Blessed Sacrament, but maintaining aromas and reflections of its Spanish essence.
Violinist Daniel Pinteño and his Concerto formation 1700 They are specialized in the historicist interpretation of works that range from the earliest stages of the Baroque to the beginning of Romanticism.. Together they also do a work of recovering the forgotten musical heritage, especially of Spanish composers and chapelmasters of the seventeenth century.
Together with Carlos Mena and Daniel Pinteño, the members of Concerto have worked on this album. 1700 Pablo Zapico, baroque guitar and theorbo, Jacobo Diaz, oboe, Ignacio Prego, harpsichord and organ, Ester Domingo, cello, Pablo Prieto, fiddle, Ismael Campanero, double bass, and Ricard Casañ, trumpet.
Part of this album has been performed before the public with the premiere of three of the unpublished songs in concert within the program of the International Festival of Sacred Art 2021 (fīās) of the Community of Madrid in March 2021. New summer dates for Carlos Mena and Concerto will be announced in the coming weeks 1700 in one of the most important festivals on the national scene.
The disc Antonio Literes (1673-1747) Sacred Cantatas for Alto was recorded in San Lorenzo de El Escorial in July 2020, with the production of Daniel Pinteño and the support of the BBVA Foundation. The physical sale of the album is now available in the Concerto online store 1700 and the Ars Hispana Association as well as available in more than 250 platforms, as Spotify, iTunes, Amazon Music Y YouTube Music