This double CD can be divided into two distinct halves. On the first CD six "Ensaladas" by the Spanish poet-composer Mateo Flecha (1481-1553) are performed, while the second CD is completely filled with music written for the liturgy of the Santa Fe Cathedral in Bogotá. In the accompanying booklet, conductor Isabel Palacios explains this combination by pointing out the character of the 'ensalada'
… (literally: salad), a poem or piece of music in which all known forms and languages are used interchangeably. Palacios believes that people of Latin America are in fact both a product and a producer of such a mix. Palacios also briefly explains the rules regarding the selection of instruments she and her ensemble Camerata Renacentista de Caracas followed for the performances. Whatever these may be, the result is very colorful, which makes it seem as if this music sounds here in an adaptation of Respighi. To a lesser extent, this observation applies to the performances on the second CD. Twelve compositions from the 17th and 18th centuries by a total of six composers will be played here. The most extensive is the "Requiem" for five-part choir by Juan de Herrera (ca 1670-1738), a work written in a rather archaic style at the time. Some works sound quite exuberant, including a beautiful solo motet "Solo 'a Nuestra Señora de la Soledad'" by José Cascante (c. 1640-1702). The performances show a great enthusiasm for this completely unknown music. (JvG) _ making it seem as if this music here is an adaptation of Respighi. To a lesser extent, this observation applies to the performances on the second CD. Twelve compositions from the 17th and 18th centuries by a total of six composers will be played here. The most extensive is the "Requiem" for five-part choir by Juan de Herrera (ca 1670-1738), a work written in a rather archaic style at the time. Some works sound quite exuberant, including a beautiful solo motet "Solo 'a Nuestra Señora de la Soledad'" by José Cascante (c. 1640-1702). The performances show a great enthusiasm for this completely unknown music. (JvG) _ making it seem as if this music here is an adaptation of Respighi. To a lesser extent, this observation applies to the performances on the second CD. Twelve compositions from the 17th and 18th centuries by a total of six composers will be played here. The most extensive is the "Requiem" for five-part choir by Juan de Herrera (ca 1670-1738), a work written in a rather archaic style at the time. Some works sound quite exuberant, including a beautiful solo motet "Solo 'a Nuestra Señora de la Soledad'" by José Cascante (c. 1640-1702). The performances show a great enthusiasm for this completely unknown music. (JvG) _ Twelve compositions from the 17th and 18th centuries by a total of six composers will be played here. The most extensive is the "Requiem" for five-part choir by Juan de Herrera (ca 1670-1738), a work written in a rather archaic style at the time. Some works sound quite exuberant, including a beautiful solo motet "Solo 'a Nuestra Señora de la Soledad'" by José Cascante (c. 1640-1702). The performances show a great enthusiasm for this completely unknown music. (JvG) _ Twelve compositions from the 17th and 18th centuries by a total of six composers will be played here. The most extensive is the "Requiem" for five-part choir by Juan de Herrera (ca 1670-1738), a work written in a rather archaic style at the time. Some works sound quite exuberant, including a beautiful solo motet "Solo 'a Nuestra Señora de la Soledad'" by José Cascante (c. 1640-1702). The performances show a great enthusiasm for this completely unknown music. (JvG) _more
