Antonio Literes: Sacred cantatas for alto Carlos Mena, Concerto 1700 & Daniel Pinteño

• Antonio Literes (1673 - 1747): "Ya por el Horizonte" Cantada al Santísimo:
• 1 Literes: "Ya por el Horizonte" Cantada al Santísimo: I. Ya por el Horizonte (Recitado) 00:50
• 2 Literes: "Ya por el horizonte" Cantada al Santísimo: II. Suene la Alboreada (Aria) 07:04
• 3 Literes: "Ya por el horizonte" Cantada al Santísimo: III. Ay, Que Si Yo Pudiera (Grave) 01:00
• 4 Literes: "Ya por el horizonte" Cantada al Santísimo: IV. Si a Gozar Solo Aspiro (Coplas) 00:45
• 5 Literes: "Ya por el horizonte" Cantada al Santísimo: V. Repite, Ave Canora (Recitado) 01:08
• 6 Literes: "Ya por el horizonte" Cantada al Santísimo: VI. de Su Aplauso en el Empleo (Aria) 07:16
• Si el Viento Cantada al Santísimo:
• 7 Literes: "Si el Viento" Cantada al Santísimo: I. Si el Viento (Recitado) 00:51
• 8 Literes: "Si el Viento" Cantada al Santísimo: II. Es el Divino Centro del Hombre (Aria) 05:44
• 9 Literes: "Si el Viento" Cantada al Santísimo: III. por Eso Ha Descendido (Recitado) 00:50
• 10 Literes: "Si el Viento" Cantada al Santísimo: IV. Como Alegres Placenteros (Aria) 05:09
• Cuando a Pique, Señor Cantada al Santísimo:
• 11 Literes: "Cuando a Pique, Señor" Cantada al Santísimo: I. Cuando a Pique, Señor (Recitado) 00:53
• 12 Literes: "Cuando a Pique, Señor" Cantada al Santísimo: II. Va Zozobrando la Navecilla (Aria) 04:44
• 13 Literes: "Cuando a Pique, Señor" Cantada al Santísimo: III. ¿Qué Tiene Que Temer? (Recitado) 00:56
• 14 Literes: "Cuando a Pique, Señor" Cantada al Santísimo: IV. Llegue Ansioso Tu Cuidado (Aria) 05:53
• "De Aquel Fatal Bocado" Cantada al Santísimo:
• 15 Literes: "De Aquel Fatal Bocado" Cantada al Santísimo: I. de Aquel Fatal Bocado (Recitado) 00:45
• 16 Literes: "De Aquel Fatal Bocado" Cantada al Santísimo: II. Pan de Llanto y de Dolor (Aria) 05:17
• 17 Literes: "De Aquel Fatal Bocado" Cantada al Santísimo: III. Tanto Transforma al Hombre (Recitado) 00:30
• 18 Literes: "De Aquel Fatal Bocado" Cantada al Santísimo: IV. Elévate a Ese Velo (Aria) 05:33
• Total Runtime 55:08

Info for Antonio Literes: Sacred cantatas for alto

"Don 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." (Benito Jerónimo Feijoo, Teatro crítico universal (1726)

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 Carrión. Born in 1673 in Artá (Majorca, Spain), Literes moved to Madrid in 1686 and entered the Real Colegio de Niños Cantores, where he was an interim music teacher from 1692 to 1694. In 1693, he became «músico de violón» (cellist) of the Real Capilla (the Royal Chapel), a position he held until his death in 1747. From 1709 on, Antonio Literes and José de Torres were entrusted with the composition of music for the Real Capilla, a task that Literes kept carrying out after Torres’s promotion to professor of that institution in 1720.

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’s music collections. Likely, these works were originally meant to be performed at the “forty hours” devotion that was held in the Real Capilla.

Daniel Pinteño, violin & director
Ricard Casañ, trumpet
Jacobo Díaz, oboe
Pablo Prieto, violin
Ester Domingo, violoncello
Ismael Campanero, violin
Pablo Zapico, theorbo
Ignacio Prego, harpsichord & organ

Daniel Pinteño
Born in Malaga (Spain), he begins his studies in the Conservatorio Profesional de Música de Murcia , under the supervision of Emilio Fenoy, and later completes them with Juan Luis Gallego in the Conservatorio Superior de Música de Aragón.

During his years of training he actively attends to masterclasses with international soloists such as Nicolás Chumachenco, Alexei Bruni, Mikhail Kopelmann, Alberto Lisy or Ida Bieler, among others.

He later moves to Germany, where he continues his advanced studies under Professor Nachum Erlich in the Staatliche Hochschule für Musik Karlsruhe (Germany).

From 2010 on, he focuses his musical work on the repertoire between the earliest music for violin in the sixteenth century until the Romantic language of the mid-nineteenth century, following historical-stylistic criteria. With this aim in mind, he starts his musicology studies in the University of La Rioja while simultaneously taking part in masterclasses by historicist musicians such as Enrico Onofri, Anton Steck, Hiro Kurosaki, Catherine Manson, Enrico Gatti, Sirka-Lisa Kaakinen-Pilch, Margaret Faultless, Jaap Ter Linden, etc.

He studied Baroque violin in the Conservatoire à Rayonnement Régional de Toulouse (France) under the swiss violinist Gilles Colliard, as well as in the Real Conservatorio Superior de Música de Madrid (Spain), under Professor Hiro Kurosaki.

Currently, he develops his artistic work leading Concerto 1700 and collaborating with various european historicist ensembles such as Forma Antiqva, Al Ayre Español, La Ritirata, L’Arpeggiata, Haydn Sinfonietta Wien, La Capilla Real de Madrid, Tiento Nuovo, Nereydas, Concerto Ibérico among others.

Daniel Pinteño plays on an venetian baroque violin anonymous from late XVII century, and with a 1713 Stradivari “Pingrillé” copy made by the cremonese luthier Carlos H. Roberts.

This album contains no booklet.