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Blair Sanderson, December 2011

El Mundo’s polished playing and idiomatic vocals provide enough of the period’s flavors to give the curious listener a helpful opening into a rich field of Baroque music that is increasingly being explored by early music groups. The reproduction is clean and focused, and the recording is well-balanced throughout… © 2011 Read complete review

Bertil van Boer
Fanfare, September 2011

This disc represents a compendium of works this time drawn not only from Latin America, but from the Spanish homeland as well; the Italian in the title refers to composers who were under Spanish rule during the period.

This disc stands out…because of its scope, nearly two centuries worth of music (all right, a century and a half). Moreover, the repertoire seems to have been chosen with a sort of populist sentiment in mind. The nice little anomalous Sinfonia para empezar by Domenico Scarlatti is a really short work in an arch form reflecting both the Italian origins and something Spanish. No one really knows what it was intended to be, but it does make a nice beginning for this disc. The Francesco Manelli work is suitably late Monteverdian, sounding for the world like an outtake from Poppea, while the cantata by Handel with “Spanish guitar” is a work that is nice, compact, and very much in the style of Domenico’s father, Alessandro. Beyond that, the bulk of the works in the first portion are by names one would not ordinarily encounter: Juan Arañes (d.1649), Domenico Mazzocchi (1592–1665), and Andrea Falconieri (1585–1656), most of the works not surprisingly bearing ostinato chaconne (sorry, ciaccona) basses reflecting a popular Spanish idiom. One must remember that this “lewd and lascivious” dance from South America had to be banned by the Pope; apparently people in Iberia were so taken with it during the 17th century that they formed the equivalent to conga lines to dance it, neglecting their other tasks and, if one is to believe the authorities, engaging in commerce of a rather different type at all hours of the day or night. The Mazzocchi Sdegno campion audace, probably the earliest of these, is more of a passamezzo, but the intertwining textures above the ground are skillfully written. The Falconieri seems to be more of a suite of ground basses, all presented with nice percussion that outlines their direct use in actual dances. The South American portion blends nicely into this first part, since not only are a good many of the works based on an ostinato bass as well, but the percussion becomes more active, as might befit a work from across the Pond. Guatemalan composer Rafael Castellanos (c.1725–91) was quite prolific, but the Oygan una Xacarilla is particularly effective in blending Quiche Maya culture with a traditional Christmas villancico text. Not surprisingly, one can hear the ciaccona in the bass, reflecting that Catholic church music could be tolerant of inserted secular notions. Peruvian José de Orejón y Aparicio (1706–65) is likewise represented by a villancico, this one both Marian and Incan in text and, one suspects, music, with a beautiful final set of couplets. The final work is an excerpt from Jesuit priest Domenico Zipoli’s opera on Saint Ignatius, a work conceived and produced throughout the Andean region of New Spain. Although composed in opera seria style, it harkens back to the didactic works of the early Roman operas of Emilio di Cavalieri, among others, being somewhat static dramatically, but imbued with lessons remembered through lyrical underlay.

All of the music for this and other compendia tends to follow a well-trod path. Generally the accompaniment consists of a variety of plucked instruments and violins, often with an improvised percussion. El Mundo as an ensemble is crisp and clean in performance, with tempos that keep the music alive and rhythmically active. I especially like the guitar playing of Paul Psarras and director Richard Savino; in La Folia the latter provides an equal and resonant foil to Adam LaMotte’s distinctive violin, and the former perfectly complements Nell Snaidas’s flowing line in José Marín’s No se yo como es. This is an excellent disc and it sets itself apart from the other compendia by having a progressive historical program based upon grounds of one sort or another. The sound is crystal-clear, and although from time to time a bit more resonance could be desired, this nonetheless provides probably the best performances of these works to date. If you are seeking new and progressive compositions, this disc probably won’t be your cup of tea, but if one is seeking entertaining music, well performed and delightful, you will want to have this.

Catherine Moore
American Record Guide, September 2011

The El Mundo ensemble demonstrates an engaging assertiveness (for example, the full sound and nice swagger in Falconieri’s ‘Ciaconna’), and solo violin and baroque guitar shine in the intricate figuration of the anonymous instrumental ‘Folia’. Accompanying forces vary in color and size and support the singers very well, with guitar, tambourine, and castanets used effectively…Soprano Nell Snaidas sings with vivid color and abandon in the Castellanos homage to Mary (‘Oygan Una Xacarilla’) and animates Hidalgo’s stophic song ‘Esperar Sentir Morir’ with suave and passionate seduction. Soprano Jennifer Ellis-Kampani sings the Handel cantata expressively…Compositions fit the theme well, and very fine booklet notes by director and guitarist Richard Savino explain the context and stylistic connections…

To read the complete review, please visit American Record Guide online.

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